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THE NEW ENGLAND CONSERVATORY
CATALOGUE 1966-1967

gitized by

the Internet

Archive

in 2015

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Founded in 1867

THE NEW ENGLAND CONSERVATORY

A College of Music • 290 huntington avenue, boston, Massachusetts 02115

Area Code 617-536-8660

Member of the New England Association of Colleges and Secondary Schools
Charter Member of the National Association of Schools of Music

CONTENTS Administration 5

Faculty 7

Education at the New England

Conservatory 9

History 10

Living Accommodations 11

Harriet M. Spaulding Library .... 11

Organs 12

Undergraduate Division 13

Bachelor of Music Degree 13

Diploma 13

Requirements for Admission .... 14

Requirements for Promotion .... 15

Requirements for Graduation .... 16

Application and Registration .... 16

Undergraduate Curricula 17

Summer School 20

Graduate Division 21

Master of Music Degree 21

Requirements for Admission .... 21

Application for Admission 22

Requirements for the Degree .... 22

Graduate Curricula 23

Artist's Diploma 24

Requirements for Admission .... 24

Requirements for the Artist's Diploma 24

Quartet in Residence 24

Performing Organizations . .
Description of Courses . . .
Courses at Simmons College .

Expenses

Financial Regulations ....

Scholarships

Loans and Awards

Form of Bequest

Faculty Awards

Health Insurance Plan . . .
Medical Service for Dormitory

Residents

Pi Kappa Lambda

Composers' Forums . . . .
Radio and Television . . . .

Placement Bureau

Summer School

The Extension Division . . .

Grade System

Honors

Dean's List

General Regulations . . . .

Board of Trustees

Faculty Biographies . . . .
Calendar for 1966 - 1967 . . .

ADMINISTRATION

To be a student at the New England Conservatory is to be
one of a select and gifted group under the guidance of an
artist-faculty . . . creating, performing, and understanding
the beautiful in music. Study here is indeed a challenging
and exciting educational and musical experience. We wel-
come today's student and tomorrow's musician.

Chester W. Williams, President

OFFICERS Chester W. Williams, President
John C. Kennedy, Vice President
Ruth Capers McKay, Dean of Graduate Division and

Summer School
Rev. Bernard Alderman, Acting Undergraduate Dean
Elwood E. Gaskill, Registrar
Shelby Harrington, Business Manager
Frances B. Lanier, Director of Extension Division
Jean Ellerson Drabik, Director of Alumni Relations and

Placement

Barbara L. Jordan, Assistant Director of Public Relations

Charles A. Cooley, Director of Development

Ray Fennelle, Concert Manager

Sheldon Morganstern, Director of Admissions

Anne W. Howe, Assistant to the Undergraduate Dean

John Hagedorn, Director of Residence

Carol Walden, Librarian

Mildred Collins, Assistant Registrar

Eleanor Baraniecki, R.N., Nurse in Residence

FACULTY COUNCIL The President The Deans

Robert Cogan Howard Goding Leta F. Whitney

F. Judd Cooke Frederick Jagel Donald Willing

Daniel Pinkham

UNDERGRADUATE Robert Brink Helen Keaney Lucille Monaghan

FACULTY BOARD Lee Sanford Halprin Joyce Meekel Frederik Prausnitz

Gladys Childs Miller

FACULTY

PIANO

Howard Goding, Chairman
Jean Poole Alderman
Lucille Monaghan
Miklos Schwalb

Veronica von Moltke

Piano Class

Jean Poole Alderman, Supervisor
Alice Canaday
Malcolm L. Creighton
Donald Smith

HARPSICHORD

Helen Keaney
Daniel Pinkham

ORGAN

Donald Willing, Chairman
Yuko Hayashi

VOICE

Frederick Jagel, Chairman
Uta Graf
Janet Irving
Gladys Childs Miller
Mark Pearson
Clara Shear
Voice Class
Mildred Armstrong

REPERTOIRE COACHING

John Moriarty
Felix Wolfes
HARP

Louise Came Pappoutsakis
Bernard Zighera

TIMPANI AND PERCUSSION

Everett Firth

STRINGED INSTRUMENTS

Richard Burgin, Chairman, violin

Albert Yves Bernard, viola

Robert Brink, vioJin

Jules Eskin, violoncello

Burton Fine, viola

Richard Kapuscinski, vioionceJJo

Alfred Krips, violin

Eugene Lehner, vioJa
Leslie Martin, doubJe-bass
Georges E. Moleux, double-bass
Ruth Posselt, vioJin
Joseph Silverstein, violin
George Zazofsky, violin
Alfred Zighera, violoncello

WOODWIND INSTRUMENTS

Gino Cioffi, clarinet

Doriot Anthony Dwyer, flute*

Ralph L. Gomberg, oboe

John A. Holmes, oboe

Ernst Panenka, bassoon

James Pappoutsakis, flute

Matthew Ruggiero, bassoon

Lois Schaefer, flute

Louis Speyer, oboe

Felix A. Viscuglia, clarinet

Sherman Walt, bassoon

*On leave of absence during 1966-67

BRASS INSTRUMENTS

Roger Voisin, Chairman, trumpet
Andre Come, trumpet
William M. Gibson, trombone
Gerard J. Goguen, trumpet
Paul F. Keaney, horn
Ralph Pottle, Jr., horn
Harry Shapiro, horn
K. Vinal Smith, tuba
James Stagliano, horn
William Tesson, trombone

HISTORY AND
LITERATURE OF MUSIC

Daniel Pinkham, Chairman
Francis Judd Cooke
Thomas Philips
Felix Wolfes

MUSIC EDUCATION

Leta F. Whitney, Chairman
Herbert H. Silverman
Carol Sykes

COMPOSITION

Francis Judd Cooke, Chairman
Robert Cogan
Daniel Pinkham

THEORETICAL STUDIES

Robert Cogan, Chairman
Francis Judd Cooke
Malcolm Goldstein
James Hoffmann
Joyce Mekeel
Malcolm Peyton

OPERA

Thomas Philips, Chairman

Boris Goldovsky, visiting lecturer

Sandra Provost, assistant

ACADEMIC STUDIES

Ruth Capers McKay, Chairman,
Max Bluestone, literature
Dalphia Brown, Engiisb
Lee Sanford Halprin, English
Tamar March, French
Richard Moore, English
Johanna H. Oldenburg, German
David Perry, English
Barbara Reutlinger, German
Marion R. Tronerud, French
Leta F. Whitney, psychology
Anna Yona, Italian
SYMPHONY ORCHESTRA
ORCHESTRAL CONDUCTING
Frederik Prausnitz

CHORUS, CHAMBER SINGERS
CHORAL CONDUCTING

Lorna Cooke deVaron

EMERITI

Homer Humphrey, organ
Percy F. Hunt, voice
Anna S. Lothian, piano
Margaret C. Mason, theoretical

studies and piano
Carl McKinley, theoretical studies
Warren Storey Smith, history

and literature of music

EDUCATION AT THE NEW ENGLAND CONSERVATORY

The combination of practical musical training, liberal arts courses, and a
broad range of musical activities is offered in the curricula for students at
the New England Conservatory, with the selection of each or all dependent
on the student's interests and degree or diploma aims.

Education at the Conservatory does not stop with
the classroom, since the New England Conserva-
tory strongly believes that the practical approach
to music leads to faculty and student activities in
the concert and recital halls, on stage before audi-
ences, over educational radio network and on
television. More than 150 musical events are
scheduled annually in the Conservatory's three
concert halls. Performances by The Chorus, the
Symphony Orchestra and Opera Theatre, many
of them featuring noted guest soloists and con-
ductors, are presented to Boston audiences, as
well as before schools and organizations outside
of Boston.

The 1964 Conservatory Chorus' tour schedule in-
cluded engagements in Connecticut, New York and
Ohio. In 1965, following a concert in New York
City's Town Hall, the Tour Chorus travelled to
Puerto Rico where it performed before large
audiences.

Composer's Forums, workshops which encourage

faculty member and students to discuss first pub-
lic performances of works by student composers,
are conducted throughout the year.

Conservatory students are often engaged on a sus-
taining basis by orchestras and other musical or-
ganizations for professional work, and through
the close association with the Boston Symphony
Orchestra, students at the Conservatory have un-
usual opportunities to perform with these artists.
The first-chair men of the orchestra are members
of the Conservatory faculty.

The Boston Symphony String Quartet, the quartet
in residence at the Conservatory, is composed
of outstanding Boston Symphony artists.
Each year the Conservatory Chorus performs
major works with the Boston Symphony Orches-
tra which are many times recorded by RCA Victor.
Conservatory students have excellent opportuni-
ties for education in music and in performance
technique by the frequent appearances of many
of the world's greatest soloists and ensembles in
nearby Symphony Hall and in our own Jordan Hall.

HISTORY

The oldest private conservatory in this country,
the New England Conservatory of Music was
founded in 1867 by Dr. Eben Tourjee, a student
and teacher of music who had devoted his life's
efforts to the intellectual balance of academic
work with musical training. The Conservatory
was incorporated three years later under a special
act of the Massachusetts legislature.
As its reputation and status grew, the Conserva-
tory moved from its first home, a famous Boston
concert hall, the Music Hall, to Franklin Square
and the St. James Hotel where in addition to
classrooms and studios, the building provided liv-
ing quarters for women students.
In 1902, through the initiative and generosity of
a longtime trustee, Eben D. Jordan, the Conserva-
tory constructed its present main, building for
classrooms, concert halls and studios. This build-
ing includes the now-famous Jordan Hall. A quar-
ter of a century later, a substantial addition was

erected and in 1960 the Conservatory's new
Harriet M. Spaulding Library and residence build-
ing were completed.

In the last half century, the New England Conser-
vatory has been involved in a gradual expansion
of its course of study. In 1925, the Conservatory
was authorized to grant the Bachelor of Music
degree and in 1927 the Master of Music degree.
Course offerings for these degrees included lan-
guages, literature, history and literature.
In more recent years, the Conservatory has con-
tinued its concerted efforts to extend and revise
its curriculum to achieve a constructive balance
between professional training in music and gen-
eral liberal education.

The New England Conservatory is a charter mem-
ber of the National Association of Schools of
Music. In 1951, the Conservatory became a mem-
ber of the New England Association of Colleges
and Secondary Schools.

LIVING ACCOMMODATIONS

The Conservatory's Residence Building, completed
in 1960, and located directly across the street
from the Main Building, provides excellent living
accommodations for men and women students,
and establishes a central complex for Conserva-
tory activities.

The dormitory building includes six floors of stu-
dent bedrooms, a complete infirmary, women's
lounge, laundry facilities, and practice rooms. On
the street floor are the dining room and main
lounge.

RESIDENCE REQUIREMENTS In all cases, resi-
dence in the dormitory includes board (breakfast
and dinner, seven days per week].
Women: All undergraduate women not living at
home, except those who hold the Bachelor's de-
gree from another institution, are required to live

in the dormitory. Other women students also
may apply.

Men: All freshman and sophomore men not living
at home are required to live in the dormitory.
Other men students may also apply.

HARRIET M. SPAULDING LIBRARY

The Conservatory's main library of more than
8,000 books and 14,000 scores and the record
library of 5,600 phonograph records and tape re-
cordings are located in the Harriet M. Spaulding
Library, built in 1960 and located in the New
England Conservatory Residence building.
Among the special collections are: Musique de
Chambre, twelve portfolios of little-known cham-
ber works; the Preston collection of the letters
of fifty-five famous musicians; and nearly com-
plete works of American composers George Chad-
wick and Frederick Converse, both former direc-
tors of the New England Conservatory. Instru-
mental collections include the Sargeant collection
of twenty-one ancient instruments from China,
Japan, India, and Russia; and a chest of viols made
under the direction of Arnold Dolmetsch.
Rare items to be found at the New England Con-

servatory are two copies of the first edition of
Handel's Messiah, the holograph of Debussy's
PeJJeas et MeJisande, an Amati violin, a Guarner-
ius violoncello, and a virginal identified as the
work of Hans (Johannes) Riickers the younger and
dated 1620. Except for the decoration of the case,
this instrument is an exact copy of a virginal in
the South Kensington Museum.
The library maintains some 250 string, brass, and
woodwind instruments for use in the orchestra
and for rental to students. A Dolmetsch harpsi-
chord, c. 1907, is used for concert performances
and for teaching. Another harpsichord is a valued
museum piece.

Choral, orchestral, and chamber music libraries
are located in the main Conservatory building.
The choral library contains 1000 titles; the orches-
tral library contains 2100 titles of scores and parts.

ORGANS

The Conservatory's facilities for organ study and
practice consist of eight instruments ranging from
small practice organs to the four-manual concert
organ in Jordan Hall. Among recent additions are:

The Aeolian-Skinner practice organ (1950) is a two-
manual instrument with exposed pipes for greater
clarity. The action is electric.

The Rieger portable organ [1957] is an Austrian in-
strument of twenty-one stops and nearly 1200
pipes. It is voiced at a modest dynamic level and
is particularly well suited for use in chamber con-
certs. The action is mechanical.

The Carr organ (1958], designed by Robert Noehren
of the University of Michigan, is a three-manual,
twenty-seven-stop instrument.

The Metzler organ (i960), built by the Metzler firm
of Zurich, is a two-manual organ with encased
pipes and sensitive key-action.

The Noack organ (1965), built by Fritz Noack of
the Noack Organ Company, Lawrence, Massachu-
setts, is a two-manual organ with nine stops, at-
tractively encased in blond oak, and with sensi-
tive mechanical action.

The Hammarberg organ (1965), designed and built
by Olof Hammarberg, Organ Builder, Gothenburg,
Sweden, is a two-manual organ of twelve stops
and fifteen ranks of pipes. The organ is beauti-
fully encased and has attached key desk with
mechanical action.

UNDERGRADUATE DIVISION

The Undergraduate Division offers a four-year program leading to the Bach-
elor of Music degree in Applied Music, in Music Education, or in Composition.
The Division offers also the Diploma in Applied Music. Each of these pro-
grams is designed not only to develop individual musicianship and applied
music proficiency, but also to provide for the general education and profes-
sional needs of students. All undergraduate students are given intensive
instruction in basic and advanced theoretical subjects and in music literature.
In addition, degree candidates complete substantial sequences in English,
literature, and modern languages. Courses of specialization appropriate to
the major field are provided in each program.

BACHELOR OF MUSIC IN APPLIED MUSIC

offered in

Piano Voice Organ
Harpsichord
Orchestral Instruments
The principal aim of this program is the develop-
ment of excellence in solo and ensemble perfor-
mance. This preparation is particularly appropri-
ate for students seeking professional careers as
studio teachers, orchestral players, opera and
musical theater singers, church musicians, or ac-
companists. Students who plan to pursue careers
in college teaching, conducting, opera direction,
or research — all of which normally require grad-
uate study — may best prepare for the necessary
advanced work by completing the undergraduate
degree program in applied music.
Candidates for admission must demonstrate sub-
stantial achievement in applied music as well as
strong potential for continued development. Good
scholastic aptitude and achievement are also re-
quirements.

/ BACHELOR OF MUSIC IN MUSIC EDUCATION

This program provides the comprehensive studies
in music, general education, and professional areas
which are essential for the training and certifica-
tion of music teachers and supervisors in the pub-
lic schools. Students undertake intensive prepa-
ration in all aspects of the music programs —
vocal and instrumental — at both elementary and
secondary school levels. Through studies in ap-
plied music, theoretical subjects, and music litera-
ture, students in this program also must achieve a
good level of musicianship and performance skill.

Applicants must provide evidence of considerable
scholastic achievement and intellectual capacity
and must demonstrate sufficient ability in applied
music to give promise of adequate development in
the four years of study at the Conservatory.

BACHELOR OF MUSIC IN COMPOSITION

The full development of the student's creative im-
pulse is the aim of the program in composition.
Vital facets of this process are a steady growth
of technical proficiency and a continually enlarg-
ing awareness of the musical possibilities found
throughout the entire history of composition. In-
tensive courses in harmony, counterpoint, orches-
tration, and analysis of contemporary music are
included in a curriculum specifically designed to
meet the needs of composition students.
The composition program offers basic preparation
for candidates who seek careers in teaching theo-
retical subjects at the college level, as well as for
those who wish primarily to compose. Students
are given the opportunity to pursue a minor in
applied music.

Applicants must demonstrate a strong background
knowledge of music acquired through instrumental
and/or theoretical study, as well as evidence of
creative gifts.

DIPLOMA

offered in

Piano Voice Organ
Harpsichord
Orchestral Instruments
The diploma is a non-academic award earned only
in applied music. This program permits maximum

DIPLOMA (continued]

concentration in the applied major, with supple-
mentary studies in theoretical subjects and music
literature. The diploma program is particularly
appropriate for students preparing for careers in
performance or in studio teaching — areas of ac-
tivity which do not specifically require formal cer-
tification or possession of an academic degree.
Applicants must demonstrate the same musical
qualifications required for the Bachelor of Music
program; scholastic record and aptitude, however,
are of less significance in determining admission.

REQUIREMENTS FOR ADMISSION
ACADEMIC REQUIREMENTS

For Freshmen:

1. Graduation from an accredited high school or
preparatory school is a prerequisite for admission.
It is expected that applicants will complete the
college preparatory course, although this require-
ment may be waived if other qualifications are
sufficiently strong. Foreign students must submit
evidence of equivalent academic training.

2. Applicants for freshman status are required to
take either the College Board Scholastic Aptitude
Test (SAT] or the American College Testing Pro-
gram Examination (ACT]. (This requirement ap-
plies also to those who have been out of secondary
school one or more years but who have not pre-
viously undertaken college study.] Applicants who
do not live in the United States and who find it
difficult to arrange to take the SAT examination
should request exemption.

For Transfer Students:

1. Transfer students must present evidence of
satisfactory scholastic record at all institutions of
higher education attended.

2. Credit for studies completed at other accredit-
ed colleges or universities will be granted as
follows:

By examination: Credit in applied music and
theoretical subjects will be given to the extent
warranted by examinations given at the Con-
servatory during Orientation Week.
Without examination: Credit in other applicable
subjects will be granted on documentary evi-
dence indicating that grades of C or higher have
been earned.

AUDITION REQUIREMENTS

Each applicant will be examined in his applied

music major before acceptance is granted. Audi-
tions will be heard after all documents (as speci-
fied in the instructions enclosed with the applica-
tion forms) have been received. Auditions are
scheduled several times during the winter and
spring preceding matriculation. Any applicant who
lives more than three hundred miles from Boston
may submit a tape recording in lieu of the per-
sonal audition.

The audition requirements specified below for
each major area are for entrance to the freshman
year. Candidates for an advanced year must pre-
sent evidence of greater repertoire and proficiency.

Piano

A prelude and fugue from the Well-Tempered
Clavier

Two movements from a suite by Bach
The first movement of a classical sonata

(Haydn, Mozart, or Beethoven)
A composition by a 19th- or 20th-century
composer

(At least one of these pieces must be played

from memory.)
All major and harmonic and melodic minor scales
All major and minor arpeggios (hands an octave

apart)

Voice

A selection from the early Italian anthology
Two art songs

Organ

A composition by Bach
A romantic work
A modern work

(At least one of these pieces must be played
from memory.)

Harpsichord

A prelude and fugue from the Well-Tempered
Clavier

Two movements from a suite by Bach
A sonata by Scarlatti
A work by Couperin or Rameau
Scales and arpeggios

Strings

A sonata movement or concert piece of moderate

difficulty
Scales and arpeggios

Woodwinds

A sonata movement or concert piece of moderate
difficulty

Major and minor scales and a chromatic scale
covering the complete range

Brass

A composition of moderate difficulty
Major, minor, and chromatic scales, articulated
and slurred

Harp

A concert piece

Scales and arpeggios, four octaves, both hands,
in thirds, sixths, and octaves

Percussion

Demonstration of snare drum rudiments
A basic technical knowledge of the mallet

instruments
Elementary exercises for timpani

\ music Education
Candidates must demonstrate proficiency in an
applied major. Tn ±hn audition, emphasis ir pinmH

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procont selections which are less d cm-airdiTTg^Th" jn
ihngp rpqin'reH for the pppli^^fmT^t^lnTrfr^ In
addition to the required scales and arpeggios,
rnucic oducation rnpHidntn^ in ipiirin ~h ~n1 "1 pre-
sent two works of their own ^choice from the stan-
dard p^aii repertoire. M 'AsfjUru OlC^zM^

Composition

Candidates either must demonstrate proficiency
in an applied music major or must give evidence
of theoretical study or creative work. When pos-
sible, examples of theoretical studies and original
work should be submitted with the application
forms.

If the applied music major is not a keyboard in-
strument, candidates must demonstrate moderate
proficiency in piano.

REQUIREMENTS FOR PROMOTION

At the end of each school year, every undergrad-
uate student is required to demonstrate by audi-
tion satisfactory achievement and progress in his
applied major. Satisfactory performance at this
audition and successful completion of the year's
course work are the bases for promotion. For pro-
motion to the second and third years, students
will appear before the Undergraduate Faculty
Board; for admission to the fourth year, before
the Faculty Council.

REQUIREMENTS FOR GRADUATION

Candidates for graduation must complete all pre-
scribed course work. Four-fifths of all earned
credit must be of C quality or higher; a student's
failure to meet this requirement will disqualify
him for graduation.

A minimum of 120 credits is required for the

Bachelor of Music degree.

Non-keyboard majors must pass a proficiency
test in piano.

Transfer students must earn at least the final 30
credits in residence at the Conservatory.
In addition to the above general requirements,
each student must meet the specific requirements
for his major field as stated below:

Piano, Voice, Organ, Harpsichord

1. The study of a comprehensive repertoire of
solo works.

2. Presentation of an acceptable public recital
during the senior year. This program is to be per-
formed from memory.

3. Performance of a work with orchestra when
required by the Faculty Council.

Orchestral Instruments

1. The study of a comprehensive repertoire.

2. Frequent performances of ensemble music.

3. A satisfactory final audition before the Faculty
Council.

Note: The Faculty Council may approve, at the time of promotion
to fourth year, a public recitai during the senior year in iieu of
a final audition.

\yfvlusic Education

Jhe study of a substantial repertoire.
Jj/Kpf^k satisfactory final audition before the Faculty
/ { Council. 4\

3. Proficiency in piano and voice adequate for
classroom teaching.

4. Satisfactory completion of a minimum of 150
clock-hours of practice teaching.

Note: Music Education majors who wish to present a public re-
cital (not required] during the senior year should request the
V Faculty Council's approval at the time of promotion to the senior
\ year.

>omposition

1. Knowledge of a substantial repertoire drawn
from the entire history of music.

The candidate will be examined by the compo-
sition faculty during May of the senior year.

2. Candidates must present for approval the fol-
lowing original works:

A work for voice and piano (or small combina-
tion of instruments), or for a combination of
voices

A chamber work of large dimensions
Either a short original composition for orchestra
or chamber orchestra, or an orchestration of an
approved work

All required manuscripts must be submitted to
the chairman of the composition department not
later than May 1 of the senior year. They must
be in ink, legible, and well edited.

APPLICATION AND REGISTRATION

Prospective students may obtain application forms
by writing to the Director of Admissions. All in-
formation requested on these forms must be pro-
vided in detail. Candidates should apply not later
than the August 1 preceding matriculation.
Those who intend to apply for financial aid should
so state when application forms are requested.
[See Pages 37 and 38)

Accepted candidates are required to be at the
Conservatory for Orientation Week (immediately
preceding the opening of the fall semester). Dur-
ing this week, various classification and placement
tests will be administered to all new students.
Other activities, designed to acquaint students
with the Conservatory's activities and facilities
and to complete registration, will also be sched-
uled during this period. Accepted candidates will
receive advance schedules of meetings required
during Orientation Week.

As a rule, entrance at midyear is not granted be-
cause year-courses begin only in September. Ex-
ceptions can be made occasionally for students
transferring from similar professional programs.

UNDERGRADUATE CURRICULA

BACHELOR OF MUSIC IN APPLIED MUSIC

PIANO

Freshman Year Credits

Piano 8

Ear-Training 101 6

Compositional Techniques 101 . 6

English 101 6

Language 101 or 102 6

Sophomore Year

Piano 8

Ear-Training 102 6

Compositional Techniques 102 . 6

Literature 101 6

Language 102 or 201 6

Junior Year

Piano 12

Keyboard Harmony 201 4

Music Literature and Form 101 . 6

Literature 102 6

Compositional Techniques 211 . 6

Senior Year

Piano 12

Music Literature and Form 102 . 6

Piano 211 4

Analysis 201 4

Ensemble or Elective 4

All students will participate in a
performing organization as assigned;
one credit per year will be granted.

VOICE

Freshman Year Credits

Voice 8

Ear-Training 101 6

Compositional Techniques 101 . 6

English 101 6

Italian 101 6

Piano Class 2

Sophomore Year

Voice 8

Ear-Training 102 6

Compositional Techniques 102 . 6

Credits

Literature 101 6

German 101 6

Piano Class 2

Junior Year

Voice 12

Music Literature and Form 101 . 6

German 102 6

French 101 6

Literature 102 6

Senior Year

Voice 12

Music Literature and Form 102 . 6

French 102 6

Voice 211 4

Voice 213 4

All students will participate in a
performing organization as assigned ;
one credit per year will be granted.

ORGAN

Freshman Year Credits

Organ 8

Ear-Training 101 6

Compositional Techniques 101 . 6

English 101 6

Language 101 or 102 6

Sophomore Year

Organ 8

Ear-Training 102 6

Compositional Techniques 102 . 6

Literature 101 6

Language 102 or 201 6

Junior Year

Organ 12

Keyboard Harmony 201 4

Music Literature and Form 101 . 6

Organ 202 4

Compositional Techniques 211 . 6

Senior Year Credits

Organ 12 12

Literature 102 6

Music Literature and Form 102 . 6

Organ 201 4

Conducting 213 or

Analysis 201 4

Compositional Techniques 201 . 6

32 or 34

All students will participate in a
performing organization as assigned;
one credit per year will be granted.

Note: Students will be required to attend
the organ department laboratory which will
meet weekly for two hours at the discretion
of the department chairman.

HARPSICHORD

Freshman Year Credits

Harpsichord 8

Ear-Training 101 6

Compositional Techniques 101 . 6

English 101 6

Language 101 or 102 6

Sophomore Year

Harpsichord 8

Ear-Training 102 6

Compositional Techniques 102 . 6

Literature 101 6

Language 102 or 201 6

Junior Year

Harpsichord 12

Keyboard Harmony 201 4

Music Literature and Form 101 . 6

Literature 102 6

Compositional Techniques 211 . 6

Senior Year

Harpsichord 12

Music Literature and Form 102 . 6

Conducting 213 4

Analysis 201 or Compositional

Techniques 201 4 or 6

26 or 28

All students will participate in a
performing organization as assigned;
one credit per year will be granted.

ORCHESTRAL INSTRUMENTS

Freshman Year Credits

Major instrument 8

Ear-Training 101 6

Compositional Techniques 101 . 6

English 101 6

Language 101 or 102 6

Piano Class 2

Sophomore Year

Major instrument 8

Ear-Training 102 6

Credits

Compositional Techniques 102 . 6

Literature 101 6

Language 102 or 201 6

Piano Class 2

Junior Year

Maj.or instrument 12

Music Literature and Form 101 . 6

Literature 102 6

Ensemble* or Elective 4

Compositional Techniques 211 . 6

I _

Major irJBBWenl 12

Music Literature and Form 102 . 6

Ensemble* or Elective 4

Analysis 201 4

Elective 4

All students will participate in a
performing organization as assigned;
one credit per year will be granted.

*EnsembJe is required if assigned.

BACHELOR OF MUSIC IN MUSIC EDUCATION

Freshman Year Credits

Applied Music 4

Ear-Training 101 6

Compositional Techniques 101 . 6

English 101 6

Language 101 or 102 6

Music Education 101 IV2

Music Education 102 V2

Voice Class 4

Piano Class 2

Sophomore Year

Applied Music

Ear-Training 102

Compositional Techniques 102

Literature 101

Language 102 or 201

Credits

Psychology 101 3

Psychology 102 3

Music Education 103 2

Piano Class 2

Junior Year

Applied Music 4

Music Literature and Form 101 . 6

Literature 102 6

Music Education 104 2

Music Education 211 4

Music Education 212 4

Conducting 213 4

Piano Class 2

Senior Year Credits

Applied Music 4

Music Literature and Form 102 . 6

Philosophy 101 3

Philosophy 102 3

Music Education 213 4

Music Education 215 6

Music Education Mini 217 • . . 4

Piano Class 2

All students will participate in a
performing organization as assigned;
one credit per' year will be granted.

Note: All students wiJJ be required to at-
tend the music education laboratory which
will meet weekly for two hours at the dis-
cretion of the department chairman.
String majors in music education will take
String Pedagogy and audit Music Educa-
tion 213.

BACHELOR OF MUSIC IN COMPOSITION

Freshman Year Credits

Composition 101 4

Ear-Training 101 6

Compositional Techniques 101 . 6

Orchestration 201 4

Major instrument 4

English 101 6

Language 101 or 102 6

Sophomore Year

Composition 102 4

Ear-Training 102 6

Compositional Techniques 102 . 6

Counterpoint 211 4

Major instrument 4

Credits

Literature 101 6

Language 102 or 201 6

Junior Year

Composition 103 4

Counterpoint 212 4

Orchestration 202 4

Compositional Techniques 211 . 6

Compositional Techniques 221 . 4

Music Literature and Form 101 . 6
Instrument (major or

secondary) 4

Senior Year Credits
Composition 104 (class and

private lessons) 8

Compositional Techniques 222 . 4

Music Literature and Form 102 . 6
Instrument (major or

secondary) 4

Conducting 213 4

Literature 102 6

All students will participate in a
performing organization as assigned;
one credit per year will be granted.

Note: Candidates in composition who do
not demonstrate adequate keyboard facility
at the time of admission will he required
to study piano as an extra course until the
pro/iciency requirement is met.

DIPLOMA IN APPLIED MUSIC

PIANO

Freshman Year Credits

Piano 8

Ear-Training 101 6

Compositional Techniques 101 . 6

Sophomore Year

Piano 8

Ear-Training 102 6

Compositional Techniques 102 . 6

Junior Year

Piano 12

Music Literature and Form 101 . 6

Keyboard Harmony 201 4

Compositional Techniques 211 . 6

Senior Year

Piano 12

Music Literature and Form 102 . 6
Piano 211, Analysis 201, or
Ensemble 4

All students will participate in a
performing organization as assigned;
one credit per year will be granted.

VOICE

Freshman Year Credits

Voice 8

Ear-Training 101 6

Compositional Techniques 101 . 6
Piano Class 2

Sophomore Year

Voice 8

Ear-Training 102 6

Compositional Techniques 102 . 6
Piano Class 2

Junior Year

Voice 12

Music Literature and Form 101 . 6
Voice 211 4

Senior Year Credits

Voice 12

Music Literature and Form 102 . 6
Voice 213 4

All students will participate in a
performing organization as assigned;
one credit per year will be granted.

ORGAN

Freshman Year Credits

Organ 8

Ear-Training 101 6

Compositional Techniques 101 . 6

Sophomore Year

Organ 8

Ear-Training 102 6

Compositional Techniques 102 . 6

Junior Year

Organ 12

Keyboard Harmony 201 4

Music Literature and Form 101 . 6
Compositional Techniques 211 . 6

Senior Year

Organ 12

Music Literature and Form 102 . 6
Organ 201 4

All students will participate in a
performing organization as assigned ;
one credit per year will be granted.

Note: Students will be required to attend
the organ department laboratory which will
meet weekly for two hours at the discre-
tion of the department chairman.

HARPSICHORD

Freshman Year Credits

Harpsichord 8

Ear-Training 101 6

Compositional Techniques 101 . 6

Sophomore Year Credits

Harpsichord 8

Ear-Training 102 6

Compositional Techniques 102 . 6

Junior Year

Harpsichord 12

Keyboard Harmony 201 4

Music Literature and Form 101 . 6
Compositional Techniques 211 . 6

Senior Year

Harpsichord 12

Music Literature and Form 102 . 6
Analysis 201 or Ensemble . 4

All students will participate in a
performing organization as assigned;
one credit per year will be granted.

ORCHESTRAL INSTRUMENTS

Freshman Year

Major instrument 8

Ear-Training 101 6

Compositional Techniques 101 . 6

Piano Class 2

Sophomore Year

Major instrument 8

Ear-Training 102 6

Compositional Techniques 102 . 6

Piano Class 2

Junior Year

Major instrument 12

Music Literature and Form 101 . 6

Compositional Techniques 211 . 6

Senior Year

Major instrument 12

Music Literature and Form 102 . 6

Analysis 201 or Ensemble 4

All students will participate in a
performing organization as assigned;
one credit per year will be granted.

SUMMER SCHOOL

The New England Conservatory will hold its
second summer session at Castle Hill, Ipswich,
Massachusetts, from June 26-August 20, 1966.
After its successful first summer at the Crane
Estate, the Conservatory will follow the estab-
lished program of concentrated study and related
public performance, with course offerings and
private instruction at both the undergraduate and
graduate level. All admissions, where possible,
are by audition, tape or personal interview.
Resident students and faculty will live either at
the Castle Hill Estate, or nearby. The Conservatory
plans for an increased student enrollment with
a distinguished faculty from the Conservatory
college staff. There will also be invited artists
and lecturers, as well as a, string quartet in resi-
dence. The many performance areas will include
the Italian Garden, the Castle Drawing Room,

the Great Hall, and the Casino; with the Crane
Barn once again used as the center for the Opera
Workshop.

During the opening season at Castle Hill, twelve
public performances were given before large audi-
ences, presenting both solo and orchestral works
and opera. It is planned to continue this special
atmosphere of public performance. Private Instruc-
tion will be offered in Voice, Piano, and Harpsi-
chord, with courses in the following areas of
study: Music History, Composition, Theory, Music
Education, Literature, Foreign Language, Chamber
Music, and Opera.

Limited scholarships are available in Chamber
Music and Opera.

For further information concerning Summer
School at Castle Hill, write: Summer School Office,
Room 27, New England Conservatory.
Applications will be sent upon request.

GRADUATE DIVISION

The Graduate Division offers the Master of Music degree and the Artist's Di-
ploma, a non-academic award for extraordinary achievement in performance.

MASTER OF MUSIC DEGREE

offered in

Music Education Composition Conducting
Church Music Opera Direction Research
Theory and Applied Music:
Piano Voice Organ Harpsichord Violin
Violoncello Double-bass Flute Oboe
Clarinet Bassoon Horn Trumpet
Trombone Harp Percussion

REQUIREMENTS FOR ADMISSION

ACADEMIC REQUIREMENTS

1. All candidates for the Master of Music de-
gree must hold a Bachelor's degree or its equiva-
lent. Those who hold the Bachelor of Music de-
gree from an accredited college will usually pro-
ceed without course deficiencies. Holders of other
bachelor's degrees are eligible if they can qualify
in their major field. Candidates must provide evi-
dence of musical achievement at least equal to
the standard of the Bachelor's degree at this Con-
servatory and must show promise of further de-
velopment.

2. All candidates, including those who hold the
Bachelor of Music degree from this Conservatory,

submit a tape recording to demonstrate achieve-
ment in technique and repertoire. Admission is
granted on the basis of an audition or tape re-
corded performance and on documents.

Conducting or Opera Direction
A candidate for admission in Conducting or in
Opera Direction should submit with the applica-
tion a resume of previous training and experience
which is specifically representative of his quali-
fications for either of these specialized majors.
Conditional acceptance is granted on the basis of
documents. Final acceptance is dependent upon
an examination before the Faculty Council, at
which the candidate is expected to demonstrate
score-reading and sight-singing ability.

Composition or Theory

A candidate for admission in Composition must
submit with the application representative exam-
ples of original writing (in ink) and, if available,
tape recordings of performances of his works.
A candidate for admission in Theory must submit
with the application written examples of his pro-
ficiency in the various theoretical techniques,
ission is granted on the basis of documents.

ic Education

Adjppi;
MMusic

must meet various distribution requirements (de- ~. candidate for admission in Music Education

*®^^™Sy^^i^^d^-™^1iir t\ t\l lEt^T^^^^^ had at leas* one year of teaching ex-

perience. Admission is granted on the basis of

uate level] in related musical and non-musical
subjects. After the candidate's undergraduate
transcript of grades has been evaluated, he will
receive a detailed statement with regard to any
area in which he has been found to have de-
ficiencies.

AUDITION REQUIREMENTS

Applied Music or Church Music
A candidate for admission in Applied Music or in
Church Music is required to audition before the
Faculty Council during the winter or the spring
preceding matriculation. Where distance makes an
audition in person impractical, a candidate may

documents.
Research

A candidate for admission in Research should sub-
mit with the application a statement of his quali-
fications to enter a program of musical research.
Reading knowledge of at least one foreign lan-
guage is a prerequisite. Admission is granted on
the basis of documents.

Prior to matriculation, each candidate is given an
opportunity to discuss his program of study with
the Dean of the Graduate Division and with the
adviser in his major field.

APPLICATION FOR ADMISSION TO THE GRADUATE DIVISION

Applications for admission should be submitted
to the Dean of the Graduate Division not later
than August 1. Candidates are advised, however,
to seek admission early, and applications will be
considered as soon as the first-semester grades of
the senior year are available.

An official transcript of the undergraduate record
must be forwarded directly from the institution
or institutions where undergraduate work was
completed. The candidate should also request his
undergraduate schools to send to the Graduate
Division a copy of the latest catalogue of courses.

Candidates who intend to apply for financial as-
sistance should so state when the admission ap-
plication and supporting documents are submitted.

In addition to regular scholarship aid, graduate
students may apply for graduate assistantships
in any of the following fields for which previous
training and experience permit them to qualify:
Choral Library, Chorus, Humanities, Music Edu-
cation, Music Literature, Opera Direction, Orches-
tra, and Radio and Television. Also, four women
and two men graduate students will be selected
to serve as dormitory counselors.

REQUIREMENTS FOR THE DEGREE
GENERAL REQUIREMENTS

The minimum requirement for the Master of Music
degree is thirty-two semester hours of credit. Can-
didates for the Master of Music degree should
not expect to complete the program in less than
two years. Candidates for this degree will be given
an examination in ear-training and sight-singing
during Orientation Week of their first year. Those
with deficiencies will be required to retake the
examination in May of their first year. (To permit
students to remedy such deficiencies, the Conser-
vatory allows them to enroll in the necessary un-
dergraduate course without charge.) Requirements
for the Master of Music degree must be fulfilled
within five years of the candidate's admission to
study for the degree.

All study, private or in class, must be of graduate
quality and must be completed with a grade of A
or B. Study in the major is required throughout
each year of the graduate program. All students
registered in the Graduate Division will be re-
quired to appear before the Faculty Council for
an audition or an examination each academic year
(preferably in May).

All deficiencies must be removed before a candi-
date may be considered for promotion to the sec-
ond year of a graduate program.
Graduate students are urged to participate in a
Performing Organization; in some cases, such par-
ticipation may be required by the Dean.

Satisfactory piano proficiency and particularly the
ability to sight-read readily are required of stu-
dents in Conducting, Opera Direction, Composi-
tion, Theory, Research, and Music Education.

PERFORMANCE REQUIREMENTS

Voice, Piano, Organ, Harpsichord, Violin, Viola,
VioJonceJJo, Flute

A solo recital in the final semester of study. The
Faculty Council will determine whether the can-
didate will also perform with the Conservatory
Symphony Orchestra.

Oboe, Clarinet, Bassoon, Horn, Trumpet, Trom-
bone, Double-bass, Percussion, Harp
The candidate will organize and participate in a
recital of chamber music, including at least one
work which demonstrates advanced solo ability.
The Faculty Council will determine whether the
candidate will also perform with the Conserva-
tory Symphony Orchestra.

Church Music The candidate will organize and
present a program of liturgical or other religious
music.

Conducting Under the supervision of the major
teacher, the candidate will organize and conduct
a concert in whole or in part.
Opera Direction The candidate will (1) provide
the musical direction and conduct a public per-
formance of an opera or operatic scenes or (2)
stage an opera or operatic scenes for public pres-
entation. The project requirement of this major
is stated in the section on curricula.

GRADUATE CURRICULA

MASTER OF MUSIC DEGREE

APPLIED MUSIC or
CHURCH MUSIC

Private study (one hour per

week for two years) 16

Academic course 4

Electives 12

vMUSIC EDUCATION

Music Education 321 4

Music Education 325 4

Music Education 326 4

Academic course 4

Electives / \p

COMPOSITION

tComposition 301 (first year) . . 8
tComposition 302 (second year) 8
Problems in Theory 301

(one year) 4

Academic course 4

Electives 8

Original work required:

A work for chamber combination

or a vocal composition
A composition for orchestra
One of the following, at the choice
of the departmental faculty:
An analytic study
A movement in a traditional
form and style (fugue, son-
ata, etc.)
An example of serial compo-

sition
CONDUCTING

Conducting 321 4

Conducting 322 4

Private study (one hour per

week, second year) 8

Academic course 4

Electives 12

OPERA DIRECTION

Opera 302 (first year) 8

Opera 303 (second year) 8

Academic course 4

Electives 12

Project requirement:

The candidate will make a revi-
sion of a work which has musical
merit but which has not proved
stageworthy. This revision will
include a singable translation. A
portion of the work will be pre-
sented as a final audition before
the Faculty Council.

RESEARCH

*tConference (one hour per

week for two years) 16

Academic course 4

Literature 324 4

Electives 8

*No credit earned until thesis has been sub-
mitted to and approved by Faculty Council.
^Graduate students majoring in Composi-
tion or Research may be registered for pri-
vate instruction one hour every other week,
as recommended by the ma/or teacher and
approved by the Dean. The student will
then elect an additional 4-credit course for
applied music], as recommended by the
major teacher. This procedure may be fol-
lowed in either the ^rst or second year or
in both years of the graduate program.

THEORY

Problems in Theory 301

(two years) 8

Problems in Theory 302

(two years) 8

Academic course 4

Electives 12

Special requirements:

An analytic paper on a work
composed before 1900

An analytic paper on a work
composed since 1900

Three of the following five proj-
ects, to be chosen by the de-
partmental faculty:
A sixteenth-century motet
A four-voice fugue
A sonata-allegro movement
An orchestration of a classical,
romantic, or contemporary
work

A movement in serial technique

ARTIST'S DIPLOMA

offered in

Piano Organ Voice Violin
Violoncello Flute
Candidates for admission to this program must
possess a highly advanced technique and the ar-
tistic and personal qualifications vital to success
as a performer.

REQUIREMENTS FOR ADMISSION

Candidates must hold the Bachelor of Music de-
gree or its equivalent, or a diploma in perform-
ance. They must give evidence of a substantial
and varied repertoire as well as considerable pub-
lic experience. They will demonstrate their musi-
cal achievement before the Faculty Council.
Candidates who intend to apply for financial as-
sistance should so state when the admission ap-

plication and supporting documents are submitted.

REQUIREMENTS FOR THE ARTIST'S DIPLOMA

The specified curriculum for the Artist's Diploma
is the intensive study of the chosen instrument
for a period of at least two years. It is assumed,
however, that candidates will profit by additional
related studies which will be designated by the
Faculty Council.

Each candidate must present a complete public
recital at the Conservatory during each year of
study. He is expected to participate in other Con-
servatory performances as approved by the major
teacher and the administration. The final recital
will be considered the final audition, and the
diploma will be authorized by the Faculty Council
on the basis of that recital.

QUARTET IN RESIDENCE

The Boston Symphony String Quartet, quartet in
residence at the New England Conservatory, is
composed of virtuosi from the Boston Symphony
Orchestra — concertmaster Joseph Silverstein, vi-
olinist George Zazofsky, principal violist Burton
Fine, and principal cellist Jules Eskin. In addition

to the instruction of selected students, the resi-
dent quartet presents a number of performances
in Jordan Hall during the academic year. Under-
graduate and graduate students may attend these
Boston Symphony String Quartet performances
without charge for admission.

PERFORMING ORGANIZATIONS

CONSERVATORY SYMPHONY ORCHESTRA

Through its intensive rehearsal and performance
schedule, the Conservatory Symphony Orchestra
provides instrumentalists with the opportunity to
learn standard and contemporary repertoire un-
der near-professional conditions. Some six public
concerts, many with faculty soloists, are presented
each year in Jordan Hall. There are occasional
guest appearances by eminent composer-conduc-
tors; Walter Piston, Roger Sessions, and Edgard
Varese have recently given performances with
the orchestra. Participation in opera productions
and performances of major works for chorus and
orchestra are additional aspects of the orchestra's
activities.

Membership in the orchestra is open to all Con-
servatory students, regardless of major field, who
qualify by audition with the conductor.

CONSERVATORY CHORUS

The Conservatory Chorus presents choral litera-
ture from all periods in its many concerts during
each academic year. In each of the last thirteen

years, the chorus has performed with the Boston
Symphony Orchestra. Several of these perform-
ances have subsequently been recorded by RCA
Victor. The Tour Chorus, a smaller group chosen
from the large chorus, annually gives a series of
concerts locally and on a spring tour throughout
the East. The Chamber Singers, a small ensemble
specializing in the study and performance of mad-
rigals and chansons, participates in these con-
certs. Membership in these groups is by audition.

CONSERVATORY OPERA THEATER

The Opera Theater provides training and perform-
ance experience at two levels. One group of sing-
ers participates in complete operatic productions
and in recitals of difficult scenes. A second group
receives basic training in opera through study
and performance of less demanding repertoire. In
addition to scene recitals and tours to local schools
throughout the year, the Opera Theater presents
three major productions, sung in English. A lim-
ited number of undergraduate and graduate stu-
dents are accepted by audition each year.

DESCRIPTION OF COURSES

Courses in the 100 series are intended primarily for undergraduate students;
in the 200 series, for undergraduate and graduate students; in the 300 series,
primarily for graduate students.

Each credit (except those given for private instruction, laboratory classes,
and performing organizations) represents one hour per week of class work
for one semester. Total credit listed is for the academic year (unless other-
wise indicated).

PIANO

Piano Class. Designed to develop basic keyboard
ability for non-piano majors. Sight-reading and
good musicianship are stressed. Class participa-
tion offers opportunities for learning to listen and
criticize, for playing before a group, and for read-
ing in ensemble. Transposition, harmonization,
and improvisation complement the work on reper-
toire, reading, and technique. The course prepares
students for the Conservatory's undergraduate
piano proficiency examination; accordingly, the
small classes (4 to 6 students) work also on scales,
arpeggios, and elementary harmonic formulae.

Mrs. Alderman, Supervisor, Mrs. Canaday,
Mr. Creighton, Mr. Smith 2 credits

Piano 211. Piano Pedagogy. A study of the meth-
ods and materials used in teaching piano, with
consideration of the problems which arise in the
student-teacher relationship. In addition to the
class meetings, each member of the class teaches
one hour per week under the supervision of the
instructor.

Mrs. Canaday 4 credits

Piano 218. Vocal Accompaniment. A practical
training in the art of accompanying vocal music
(songs, operas, and oratorios) for advanced piano
students. Students have an opportunity to prepare
classical and modern repertoire in co-operation
with voice students.

Mr. Wolfes 4 credits

VOICE

Voice Class. A course to acquaint non-vocal ma-
jors with the basic principles of voice production.
Much attention is given to the problems of the
teacher in vocal school music, at both the ele-

mentary and secondary school levels. Students
gain a knowledge of the young voice and learn
to evaluate vocal sound, especially good choral
tone. Class groups are small (4 to 6 students) to
allow participation and discussion.

Miss Armstrong 4 credits

Voice 211. Vocal Repertoire. A historical survey
of the art song from the seventeenth century to
the present day. Members of the class prepare for
performance representative songs of each com-
poser and period studied. The course includes an
introduction to the subject of vocal ornamenta-
tion. Attention is given to the basic recital tech-
niques of communication and projection, and es-
pecially to the problems of program building.

Mr. Wolfes 4 credits

Voice 213. Voice Pedagogy. The study of current
techniques in voice pedagogy, examined through
discussion, lecture, interview, demonstration, and
outside reading. Students attempt to formulate
their own methods. In the second semester, class
members are assigned to teach students without
vocal experience.

Mr. Jagel 4 credits

Voice 321. Repertoire Coaching. Private instruc-
tion in the interpretation of vocal repertoire. For
graduate students only.

Mr. Wolfes 4 credits
OPERA Moriarty 4 credits

Opera 301. History of Opera. A historical survey
of opera from 1600 to the present day. The course
places particular emphasis on the study of opera
as a bona fide art form in terms of both musical
and dramatic experience. Representative works
from a variety of styles and periods are carefully

Opera 301 (continued)

examined and compared with regard to musical,
literary, and theatrical values. A study of import-
ant source materials and a program of required
listening form an integral part of the course.

Mr. Philips 4 credits

Opera 302. Coaching and Conducting. A thorough
study of the standard operatic repertoire with
emphasis on tempo determination, as well as tra-
ditions and styles of performance and problems
of organization. Private study, one hour per week.

Mr. Philips 8 credits
Non-majors 4 credits

Opera 303. Stage Direction. A practical study of
mise-en-scene, combined with work in scenic con-
struction, lighting, costuming, and make-up. Pri-
vate study, one hour every other week.

Mr. Philips 8 credits
Non-majors 4 credits

ORGAN AND CHURCH MUSIC

Organ 201. Organ Improvisation. Special study
of the problems of extempore service playing, for
Organ and Church Music majors.

Mr. Willing 4 credits

Organ 202. Organ Design, Repertoire, and Con-
ducting (Seminar). A course designed to explore
various aspects of church music in their practical
application. The materials of church music will be
examined, including choral and organ music. As
much instruction and practice in choral conduct-
ing will be given as is advisable and practical,
and organ design and the design of the physical
musically related parts of the church will be thor-
oughly explored, both hypothetical and existing.
Visits will be made to appropriate churches and
instruments.

Mr. Willing 4 credits

Organ 301. Liturgical Music (Seminar). A com-
parative survey of the development of choral and
keyboard music associated with the Lutheran,
Anglican, and free church usages and the Roman
rite, including a study of plainsong and the sources
of hymn tunes. Reading in the area of church his-
tory, performance of representative music, and
visits to presentations of liturgical music will be
expected. When possible, guest lecturers will deal
with specific subjects, including music of the Jew-
ish liturgies. Open primarily to graduate students;

undergraduate students admitted by permission of
the instructor.

4 credits

CONDUCTING

Conducting 213. Basic Conducting. A class de-
signed to acquaint students with the field of con-
ducting. The course includes a thorough study of
the beat, an approach to the study of scores, and
practical experience in rehearsal with an orchestra
composed of class members.

Mr. Prausnitz 4 credits

Conducting 321. Chord Conducting. Instruction
in the technique of conducting large choruses,
church choirs, and small vocal ensembles, with
special emphasis on repertoire, beat technique,
and the vocal development of choral groups.

Mrs. deVaron 4 credits

Conducting 322. Orchestral Conducting. For stu-
dents seriously interested in the craft of conduct-
ing and sufficiently prepared to benefit from in-
tensive training. Qualified members of the class
have weekly opportunities to conduct the Con-
servatory Symphony Orchestra. Admission to the
class only upon approval of the instructor.

Mr. Prausnitz 4 credits

ENSEMBLE

(coached by members of the faculty)

Ensemble 201. Mixed Ensemble. A class for the
study of the chamber music literature for piano
and stringed or woodwind instruments. Students
deal with the problems of preparing representa-
tive compositions from all musical periods.

4 credits

Ensemble 202. Brass Ensemble. The preparation
of representative passages for brass instruments
in the literature of the orchestra. Compositions in
the brass chamber music literature (Gabrieli, San-
ders, etc.) are also studied and given performance.
Exactitude of intonation, rhythmic precision, and
proper methods of attack are stressed. The group
studies a wide selection of the orchestra litera-
ture; works which are being prepared for public
performance by the Conservatory Symphony Or-
chestra are given particular attention.

Mr. Voisin 4 credits

Ensemble 203. Percussion Ensemble. A study of
the rhythmic problems found in the major or-
chestral literature of the romantic and contempor-
ary composers, with special attention to the works
being prepared by the Conservatory Symphony
Orchestra. Students also prepare compositions for
percussion ensemble and for instrumental ensem-
bles with solo percussion parts — such works as
Chavez Toccata for Percussion, Stravinsky The
Soldier's Tale, Walton Facade Suite, Bartok Son-
ata for Two Pianos and Percussion.

Mr. Firth 4 credits

Ensemble 211.

String Quartet.

Mr. Silverstein

4 credits

Ensemble 212. Woodwind Ensemble. The develop-
ment of phrasing, style, intonation, and sonority
for woodwinds through the medium of chamber
music. Students prepare from the very large reper-
toire works such as Janacek Sextet, Poulenc Sex-
tet, Mozart Piano Quintet, etc.

Mr. Speyer 4 credits

Ensemble 321. Chamber Music for Strings and
Piano. A course available to advanced students in
piano and stringed instruments for the study and
performance of selections from the important
chamber music literature. Sonatas, trios, quartets,
and quintets representing various periods and

styles are included in the course. Special atten-
tion is given to the techniques of projection in
performance.

Mr. Brink 4 credits

Undergraduate students may repeat Ensemble 201,
202, or 203 for credit.

COMPOSITION

Composition 101 and 102. First- and Second-Year
Composition Class. An introduction to formal
principles and contemporary techniques. Original
composition and analysis.

Mr. Cogan, Mr. Pinkham 4 credits each

Composition 103 and 104. Third- and Fourth-
Year Composition Class. Continued study of for-
mal principles and contemporary techniques.
Original composition and analysis.

Mr. Cogan, Mr. Pinkham 4 credits each

In addition, private lessons in Composition 104

4 credits

Composition 201. Composition for Non-majors. A
class intended primarily for students who are not
composition majors, but who wish to work in
composition. The purpose of the course is, through
composing, to deepen their experience of musical
structure and contemporary techniques.

Mr. Cooke 4 credits

Composition 301 and 302. Private study of com-
position, one hour per week. For graduate com-
position majors.

Mr. Cogan, Mr. Cooke,
Mr. Pinkham 8 credits each

HISTORY AND LITERATURE OF MUSIC

Music Literature and Form 101. Music of the Ren-
aissance, Baroque, and CiassicaJ Periods. Through
lecture, performance, listening, and discussion,
the study of European music from the beginnings
of polyphony to the death of Haydn.

Mr. Pinkham 6 credits

Music Literature and Form 102. Music of the 19th
and 20th Centuries. The study of style and form
from the time of Mozart and Haydn to the present.
The music studied includes all media: symphonic
works, concertos, chamber music, lieder, opera,
oratorio, and ballet. The emphasis is on the de-
velopment of style and transformation of forms
in the hands of successive composers. Music is
heard on recordings and, whenever possible, in
performances by members of the class.

Mr. Cooke 6 credits

Music Literature 321. Renaissance Music (Semi-
nar). Seminar on music from Machault through
Byrd. Topics to be discussed will include sonori-
ties, instruments, rhythm, tuning and tempera-
ment, role of music in Renaissance society, prac-
tical problems in performing this music today,
such as scoring of a cappeJJa works, substitution
of instruments, etc. The discussions and papers
will be, when practical, complemented by class
performance.

Mr. Pinkham 4 credits

Music Literature 322. Music of the 18th and 19th
Centuries (Seminar). Through analysis, this course
examines the sources of power and expressive-
ness in the symphonies and quartets of Haydn,
operas of Mozart, large works of Beethoven, com-
positions by Schubert, Schumann, Chopin, Ber-
lioz, Verdi, Wagner, and Brahms. Individual oral
reports and papers are presented and discussed.

Mr. Cooke 4 credits

Music Literature 323. Techniques of Twentieth-
Century Composition. Beginning with Debussy
and Stravinsky, the characteristic aesthetic ap-
proaches and techniques are examined and illus-
trated. Class members give lectures on the treat-
ment of these techniques in individual works.
Study continues with Hindemith, Bartok, Schoen-
berg, Berg, Webern, Milhaud, Ives, Sessions, Car-

ter, and Boulez. Speculations are made in the
electronic and aleatory realms.

Mr. Cooke 4 credits

Music Literature 324. Baroque Music (Seminar].
Seminar on music of the Baroque era with particu-
lar emphasis on the elements of style which sub-
sequently influenced J. S. Bach. National styles,
ornamentation and improvised embellishments,
rhythmic alterations, expression, etc.

Mr. Pinkham First semester, 2 credits

Music Literature 325. Music of ]. S. Bach (Seminar).
Seminar on the music of J. S. Bach, with particular
emphasis on the large choral works, the Branden-
burg Concertos and the keyboard works. The dis-
cussions and papers will be, when practical, com-
plemented by class performance.

Mr. Pinkham Second semester, 2 credits

See also Voice 211, Organ 202, Organ 301, Opera 301.
THEORETICAL STUDIES

Ear-Training 101. Basic Musicianship. The singing
and aural recognition of scales, intervals, triadic
forms and their inversions, rhythmic patterns and
meters, and simple formal structures. The tech-
niques acquired are applied to music from every
period in order to develop in the student increas-
ing aural mastery and understanding.

Members of the Department 6 credits

Ear-Training 102. Basic Musicianship. The singing
and aural recognition of modulations, large-scale
harmonic progressions, altered and dissonant
chords, modes, chromaticism; use of alto and
tenor staff. An introduction to singing and aural
recognition of characteristic rhythmic, melodic,
and harmonic aspects of contemporary music.

Members of the Department 6 credits

Ear-Training 201. Advanced Ear-Training and
Sight-Singing. An advanced course in ear-training,
sight-and score-reading, and sight-singing for
graduate students. The materials are drawn from
every period, with special emphasis on problems
of modern music. This class is offered for vocalists
and for instrumentalists in alternate years.

Miss Mekeel 4 credits

Compositional Techniques 101. Introduction to
Principles and Techniques of Composition and
Analysis. Species counterpoint in two and three
voices. Associative relationships. Theory of tonal
harmony. Settings of tonal melodies and realiza-
tions of figured basses. Analysis of relevant exam-
ples from every period. Compositional problems.

Members of the Department 6 credits

Compositional Techniques 102. Principles and Tech-
niques of Composition and Analysis. Melody:
concepts of direction; embellishment and prolong-
ation; association, variation and contrast; phrase
structure. Contrapuntal-harmonic motion: altera-
tion; tonicization; modulation. Compositional elab-
oration. Analysis of relevant examples from every
period. Compositional problems.

Members of the Department 6 credits

Compositional Techniques 201. Survey of Counter-
point. Contrapuntal techniques and forms, drawn
from the major historical periods to the present.
Intensive analysis and writing.

Dr. Hoffmann 6 credits

Compositional Techniques 211. Principles and Tech-
niques of Composition and Analysis. Composition
in small forms. The evolution of harmonic, con-
trapuntal and compositional principles in the past
100 years: ambiguity, structural dissonance, syn-
thetic structures, total chromaticism, anti-tonality,
serialization. Analysis of relevant examples. Com-
positional problems.

Members of the Department 6 credits

Compositional Techniques 221. Contrapuntal and
Harmonic Techniques. Contrapuntal and harmonic
techniques as developed by Stravinsky, Bartok,
Hindemith, and others. Short contrapuntal studies
are written in diatonic, chromatic, mixed, and
twelve-tone languages.

Mr. Cooke 4 credits

Compositional Techniques 222. Serial Technique.
The evolution of serial technique from the early
works of Schoenberg, through Berg and Webern,
to the advances of the most recent generation of
American and European composers. Mastery of
these concepts through both analysis and writing.

Mr. Cogan 4 credits

Keyboard Harmony 201. Application of harmonic
and theoretical skills to the keyboard. Harmoniza-
tion, improvisation, transposition, and realization
of figured bass are included in the training. Indi-
vidual performance will be stressed.

Miss Mekeel 4 credits

Counterpoint 211. Sixteenth-Century VocaJ Coun-
terpoint. A study of the sixteenth-century vocal
style through analysis of composition and exer-
cise in two-part and three-part counterpoint.
Writing of motets and other forms of vocal com-
position.

Mr. Cooke 4 credits

Counterpoint 212. Eighteenth-Century Instrumen-
tal Counterpoint. A study of the eighteenth-cen-
tury instrumental style. Writing of chorale-prel-
udes, two- and three-part inventions, and intro-
duction to fugue. Analysis of the Bach Inventions,
Well-Tempered Clavier, and Art of the Fugue.

Mr. Cooke 4 credits

Analysis 201. Analysis and Analytic Hearing. By
working in small classes the student is given an
opportunity to develop skill in practicing those
techniques of musical analysis — melodic, contra-
puntal, harmonic, and rhythmic — necessary for
the understanding of a musical work.

Mr. Goldstein 4 credits

Orchestration 201. Basic Instrumentation. The
sonoral possibilities and mechanics of instru-
ments, as well as their acoustical basis. Analysis
of their orchestral uses. Arranging and writing
for various instrumental groupings.

Mr. Cogan 4 credits

Orchestration 202. Orchestration. A study of the
textural and sonoral possibilities of the orchestra.
Analysis of examples from the history of music,
and scoring of keyboard music or of original ma-
terial for orchestra.

Mr. Cogan 4 credits

Problems in Theory 301. Seminar. The graduate
seminar for theory and composition majors. The
meetings are devoted to certain selected problems
in analysis or in theoretical areas (rhythm, har-
mony, counterpoint, texture, formal structure),
the emphasis to fall each year on different prob-
lems and on a different musical period.

Mr. Cogan 4 credits each year

Problems in Theory 302. Conference. Graduate
theory majors taking Problems in Theory 301 are
expected to undertake specific related projects in
analysis and in mastering various aspects of writ-
ten musical technique. These projects are exam-
ined and discussed in this private conference.

Mr. Cogan 4 credits each year

Interpretive Analysis 301. Analysis for Performers.
A graduate course for applied music majors. The
student's knowledge of harmony, counterpoint,
and form is applied to extract the implications for
performance. At the same time, the student is
introduced to important concepts of rhythmic,
linear, harmonic, and structural analysis. During
the course of the year, the student will analyze
works from his own area of specialization.

Mr. Cogan 4 credits

USIC EDUCATION

Music Education 101. String Class. Fundamental
instruction in each of the stringed instruments
y/ (violin, viola, violoncello, and doublebass). In-
*j\ struction in class teaching, conducting (funda-
mental beat patterns), and the preparation of ma-
terials of instruction.

Dr. Silverman IV2 credits

Music Education 102. Percussion Class. Funda-
mental instruction in percussion with emphasis on
yL^ snare drum rudiments. Instruction in class teach-
es^ ing, conducting (fundamental beat patterns), and
the preparation of materials of instruction.

Dr. Silverman V2 credit

Music Education 103. Heterogeneous Instrumental
iA Class II. Fundamental instruction in each of the
V* instruments of the woodwind choir (flute, oboe,
clarinet, bassoon, and saxophone). Problems of
organization and teaching instruments in mixed
groups. Instruction in class teaching procedures,
elements of conducting, and the preparation of ma-
terials of instruction.

Dr. Silverman 2 credits

Music Education 104. Heterogeneous Instrumental
Class 111. Fundamental instruction in each of the
instruments of the brass choir (trumpet, trom-
» / bone, baritone, horn, and tuba). Problems of or-
pA^ganization and teaching instruments in mixed
V groups. Instruction in class teaching procedures,
elements of conducting, and the preparation of
materials of instruction.

Dr. Silverman 2 credits

Music Education 211. Music in Elementary Edu-
cation. A study of the place of music in the ele-
mentary curriculum projected against a back-
Wground of practical conditions; procedures for the
p\ realization of valid objectives; study of supervis-
VA ory and teaching, procedures to determine their
^ aesthetic values and practical uses in the educa-
tion of children; vocal and instrumental problems;
demonstration teaching; curriculum planning.

Mrs. Whitney 4 credits

Music Education 212. Music in Secondary Educa-
tion. A study of the function of music in the gen-
eral education of youth; a detailed consideration
( of the musical activities, courses, and services
A suitable to the curriculum of modern secondary
\) schools of various levels; problems arising from
such limitations as school size, class schedule, and
budget; procedure and materials; study of the
good teacher and supervisor.

Mrs. Whitney 4 credits

Music Education 213. Instrumental School Music.

study of the problems involved in planning and
developing a complete program of instrumental
music from earliest grade levels to community
levels.

Dr. Silverman 4 credits

Music Education 215. Practice Teaching. Applica-
tion of the materials of Music Education 211 and
212. Students are assigned to school systems in
the Greater Boston area, where they serve as
practice teachers under the supervision of the
local directors of music and the chairman of the
music education department. There are biweekly-
seminars at which the problems of music super-
vision and teaching are studied in the light of
classroom experience. Minimum of 150 clock-
hours of teaching required.

Mrs. Whitney, Dr. Silverman 6 credits

Music Education 216:

ducting. A perfo

players in Nlirsic Education. Membersjif^trle'Band
will gain experieln^fi in quaiiiy^erformance of
materials appropriat^5»<^Trievels of school and
college windgrjii^Senior^swill gain experience
in cono]ji€tmg problems throu^regular assign-
ments. Dr. Silverman 4 credits

Music Education 217.

and Con-

ducting. A labc^torv^oTjiie study and evaluation

of vocal^rrfa^f^af,io^ school music program.

Seniors will gain experience in choral conducting

techniques through regular weekly assignments.

All Music Education majors except wind players

will be assigned to this class.

Mrs. Whitney^ 4 credits

i* ■ x- ™, „ ^ Om^A^Ma^.

Music Education 321. Supervision. A seminar in

the principles and techniques of supervision in a
democratic society and their application to specific
problems of learning, with emphasis upon evalua-
tion and improvement of the teacher-learner sit-
uation in the public schools.

Mrs. Whitney 4 credits

Music Education 325. Music in Higher Education.
A study of the development of music offerings
at the college level for the training of teachers.
The course will consider curricular patterns, the
relation of music to other college subject areas,
and the problems of teacher certification.

Mrs. Whitney 4 credits

Music Education 326. Tests and Measurements. A
general study of objectives, aims, and procedures
in the field of statistics and mental measurement.
In addition, the course will deal with prognosti-
cative and achievement measures in music.

Dr. Silverman 4 credits

String Pedagogy. A study of the development of
the string program in private and public schools.
The course will emphasize methods and materials
for teaching children in class situations and pro-
vide supervised teaching experience in public
and/or private schools.

Miss Sykes 4 credits

ACADEMIC STUDIES
HUMANITIES

English 101. Techniques of Reading and Writing.
The course stresses the value of perceptive read-
ing, logical thinking, and clear, accurate writing.
The readings for the course include seminal works

from the intellectual history of the nineteenth and
twentieth centuries. The issues raised by these
works are the subject matter of student writing.
Mr. Halprin, Mrs. Brown, Mr. Moore 6 credits

Literature 101. Ancient, Medieval, and Renais-
sance Literature. A study of the Ancient, Medieval,
and Renaissance worlds with reading in the works
of Homer, Aeschylus, Sophocles, Euripides, Virgil,
Dante, Cervantes, and Shakespeare. The corre-
sponding periods of art are presented in a series
of lectures and museum visits.

Dr. Bluestone 6 credits

Literature 102. American Literature. A survey of
American literature, from the colonial period to
the present. Special emphasis is given to historical
context and to the major works of the major writ-
ers. A parallel survey of art is presented in a series
of lectures and museum visits.

Mr. Halprin 6 credits

Literature 321. Sophocles and Shakespeare. A
study of two major developments in the history of
the drama: the classic and the baroque.

Mr. Perry 4 credits

Literature 322. Modern Poetry. A study of the
works of William Butler Yeats, T. S. Eliot, Gerard
Manley Hopkins, W. H. Auden, and others.

Mr. Moore 4 credits

Literature -324. Methods and Materials of Re-
search. A seminar in the problems of musical
research. A-goquirod uuuiail fur graduate students
in RoDoarch and MuciG Education.

Mr. Halprin 4 credits

SOCIAL STUDIES

Philosophy 101. Introduction to Philosophy. In-
troduction to and discussion of the classical prob-
lems of philosophy, with particular attention to
epistemology and valuation.F/m semester, 3 credits

Philosophy 102. Philosophy of Education. Discus-
sion of the nature and scope of philosophies of
education. Some time is spent on the work of
particular philosophers, to examine their views as
to the nature of man and to draw implications for
educational practice. Second semester, 3 credits

Psychology 101. General Psychology. An introduc-
tory course in the study of human experience and

behavior; the scope and methods of psychology;
physical structure of behavior; factors in psycho-
logical growth, processes, and measurement.

Mrs. Whitney First semester, 3 credits

Psychology 102. Educational Psychology. Psychol-
ogy of learning and teaching; particular problems
of education for musical growth.

Mrs. Whitney Second semester, 3 credits

LANGUAGES

French 101. Elementary French. A course de-
signed to give the beginning student a command
of French grammar and a basic vocabulary,
through an orally oriented approach.

Mrs. Tronerud
Mrs. March 6 credits

French 102. Reading, Conversation, and Compo-
sition. Functional review and practice of grammar
are combined with readings in literary and cul-
tural texts. The development of aural-oral skills;
the command of writing French; reading and com-
prehension. Mrs. Tronerud

Mrs. March 6 credits

French 201. Literature. The study of selected
works representative of the major periods of
French literature, from the Middle Ages to the
present. The course combines study of the litera-
ture with an opportunity to improve listening and
speaking ability.

6 credits

for graduate students, 4 credits

French 202. Twentieth-Century Literature. Read-
ings in twentieth-century literature, with empha-
sis on "explication de texte" for oral work.

Mrs. March 6 credits
for graduate students, 4 credits

German 101. Elementary German. Introductory
grammar and composition; emphasis on oral train-

ing; reading selections from German sagas and
fairy-tales.

Mrs. Oldenburg, Mrs. Reutlinger 6 credits

German 102. Intermediate German. Advanced
grammar and composition; introduction to the
German literature of the late eighteenth century
to the twentieth century (Sturm und Drang —
Spat-Romantik), especially in relation to its con-
tribution to the German "Lieder" and other music.

Mrs. Oldenburg 6 credits

German 201. Literature. Reading and discussion
of J. Eichendorff Aus dem Leben eines Tauge-
nichts, Thomas Mann Tonio Kroger, E. T. A. Hoff-
mann Don Juan, E. Morike Mozart auf der Reise
nach Frag.

Mrs. Oldenburg 6 credits
for graduate students, 4 credits

Italian 101. Elementary Italian. This course for
beginners combines very intensive work in oral
expression with a study of elementary grammar
and introductory readings.

Mrs. Yona 6 credits

Italian 102* Intermediate Italian. The aim of this
class, a continuation of Italian 101, is to increase
the student's active command of the language
through the reading of selected modern prose,
through oral reports, and through grammar review
and composition.

Mrs. Yona 6 credits

Italian 201. Literature. A study of short master-
pieces, from Dante to the present, designed to
acquaint the student with the Italian literary and
cultural tradition. Emphasis is placed on oral ex-
plication and written composition.

6 credits

for graduate students, 4 credits

COURSES AT SIMMONS COLLEGE

The provisions of an agreement with Simmons
College allow a Conservatory student to elect
courses for full credit at Simmons. Such a student
must be recommended to the Dean at the New
England Conservatory by a departmental chair-
man. The student will then be referred to the
Simmons Dean, who will determine whether the
student is qualified to take the course requested.

$2700

$1800

$1250

COST OF
EDUCATION PER
STUDENT IS
$2700

EXPENSES

The tuition rates listed below represent the first increase
made in a period of ten years. These changes cover only
slightly more than one half the cost of educating the stu-
dent body. The balance is met by the Conservatory's
own funds, and by gifts and bequests; and to this extent
each student is, in a sense, the beneficiary of a scholarship.
In order to provide opportunity for students to adjust
to the increased rates, assistance in the form of schol-
arships fSee page 37) and loans fSee page 38) will be
increased in equitable proportion.

UNDERGRADUATE TUITION

per academic year

Bachelor of Music degree $1800.00

Diploma 1300.00

The tuition charge covers all required
class and private instruction as listed
in the curricular outlines, as well as
health insurance. There is an addition-
al charge for extra instruction under-
taken at the student's option.

GRADUATE TUITION

per academic year

Master of Music Degree $1250.00

Artist's Diploma 700.00-1250.00

Additional graduate courses (in class),

per credit 80.00

Undergraduate courses (deficiencies),

per credit 60.00

The basic tuition charge for an applied
music major covers private instruction
and a maximum of two courses and
health insurance. In the case of other
majors, the tuition covers four courses.
INCIDENTAL CHARGES AND FINES
charged when applicable

Application Fee (all new students) . . . $10.00
Advanced Standing or Make-up

Examinations, each 5.00

Late Registration Fine 10.00

Course Change Fee 4.00

Auditing Fee, per course per semester 25.00
Copies of Transcript (first copy free) 1.50

The first copy of any subsequent tran-
script order is $1.50. Additional copies
ordered at the same time are $.50 each

PRACTICE CHARGES (Optional)

Practice facilities are provided at the following
rates (The sum is for one hour per day, six days
per week, per year, unless otherwise noted;
rates for single hours are available from the
Registrar.) :

Room with upright piano . . $ 10.00
Room with grand piano .... 25.00
Harpsichords (no time limit) 100.00
Percussion Rooms

(no time limit) 50.00

Organs (no time limit) 100.00

Jordan Hall organ

(single hours only) .50

RENTAL OF INSTRUMENTS

A limited number of orchestral instruments are
available for rental to students at these weekly
rates:

Violin, Viola $ .50

Violoncello, Double-bass 75

Woodwind, Brass 1.25

DORMITORY CHARGES

Room (double occupancy) and Board . $1000.00
Room (single occupancy) and Board . . 1200.00
Medical Fee 50.00

Board includes breakfast and dinner, seven

days per week.

FINANCIAL REGULATIONS
ADVANCE DEPOSITS

Undergraduate and graduate applicants are re-
quired to make an advance tuition deposit of
$50 within two weeks after acceptance. This de-
posit is not refundable.

Currently enrolled undergraduate and graduate
students are required to pay a $50 advance tuition
deposit for the succeeding year by June 1. This
deposit is not refundable.

A deposit of $50 must be submitted with the dor-
mitory reservation. This deposit is not refundable.

TUITION PAYMENTS

One-half of tuition charges must be paid by
September 15. The balance of charges is due on
January 15. No refunds are made in the event
of withdrawal, suspension, or dismissal.

DORMITORY PAYMENTS

One-half of the charges for room and board must
be paid by September 15. The balance of charges

is due on January 15. The medical fee, required
of all dormitory residents, is payable in full on
September 15. Dormitory occupancy may be ar-
ranged only for the full academic year of two
semesters.

PAYMENT PLANS

Several deferred tuition payment plans are of-
fered by commercial firms. Information regarding
one of these, Education Funds, Incorporated (EFI),
may be obtained from the Business Manager.

PERSONAL ACCOUNTS

It is suggested that students maintain personal
accounts in one of the many commercial banks in
the immediate neighborhood of the Conservatory.
The Conservatory does not provide facilities for
student accounts.

CHECK CASHING

Checks not in excess of $25 will be cashed by the
Conservatory Cashier upon the presentation of
proper identification. There is a service charge
of ten cents per check cashed.

DESCRIPTION OF CHARGES AND FINES

An application charge of $10 is required of all
undergraduate and graduate applicants. This fee
is not refundable, nor is it applicable to tuition
or to other charges.

A $5 charge is made for each examination taken
to establish advanced standing or to make up a
regular examination.

A late registration fine of $10 will be charged
currently enrolled or new students who in any
way fail to comply with college regulations re-
garding registration.

A course change charge of $4 will be made for
any course change made at the student's option
at other than specified registration periods.
A medico] fee of $50 is charged dormitory resi-
dents to cover clinical service by a licensed
physician, emergency treatment by a resident
nurse, and infirmary care.

SCHOLARSHIPS, LOANS, SPECIAL AWARDS

Scholarship awards are made on the basis of high academic achievement,
musical potential, good moral character, and financial need. A scholarship
is normally awarded for the academic year. Students may re-apply for each
succeeding year. In order to receive or retain a scholarship the student must
pass the promotional audition, be recommended by the major teacher, and
must maintain a C average or better.

The New England Conservatory is a participant in the College Scholarship
Service. Parents of all new students who apply for scholarships are expected
to fill out the Parent's Confidential Statement and send it to the College
Scholarship Service, Box 176, Princeton, New Jersey, before May 15.

It is expected that all students who receive scholarship awards will partici-
pate in any authorized curricular or extra-curricular activity the Conservatory
undertakes.

Funds available for scholarships are listed below. The Conservatory is
now engaged in a special campaign to increase these funds.

SCHOLARSHIP FUNDS

Carl Baermann Scholarship
Louise Baker Scholarship
Anna C. Bird Scholarship
Kate E. Blanchard Scholarship
Edwin Perkins Brown Scholarship
Florence E. Brown Scholarship
Harriet Tilden Brown Scholarship
Samuel Carr Scholarships
Emily Allen Cates Scholarship
Chase Scholarship
F. Lyman Clark Scholarship
Alice Robbins Cole Fund
Converse Scholarships
M. Ida Converse Scholarships
Jennie L. Cox Scholarship
Lotta Crabtree Scholarships
David W. Cushing Scholarship
Mabel Daniels Scholarship
Oliver Ditson Scholarships
Robert G. Dodge Scholarship
Ellen B. Doe Scholarship
Henry Morton Dunham Fund
Henry T. and Mary W. Dunham

Scholarship
Emma Eames Scholarship
Arthur F. Estabrook Scholarship
Mrs. Arthur F. Estabrook Scholarship

Maria A. Evans Scholarship
Arthur Foote Scholarship
Fanny Elizabeth French Scholarship
Frances Phetteplace Fry Scholarship
Clara E. Getman Scholarship
Wallace Goodrich Scholarship
Lucinda Gould Scholarship
Mary Frothingham Hooper Scholarship
Fund

John Collins Hurley Scholarship
George B. Hyde Scholarship
Elma Igelmann Scholarship Fund
Rebecca Jackson Scholarship
Hattie M. Jacobs Scholarship
Julia Klumpke Scholarship Fund
W. H. Langshaw Scholarship
Doris M. Lehmann Memorial Scholar-
ship Fund
Nettie E. Lentz Scholarship
Agnes M. Lindsay Scholarship
John Ellerton Lodge Scholarship Fund
Anna M. Mason Scholarship
Elizabeth Henshaw Metcalf Memorial
Fund

Mildred Miller Scholarship
Oliver W. Mink Piano Fund
Mrs. Oliver W. Mink Fund

[continued]

SCHOLARSHIP FUNDS (continued]

Mary C. Morrison Scholarship

George H. Munroe Fund

Elsie and Walter W. Naumburg

Scholarship
New England Conservatory Alumni

Association Memorial Scholarship
Blanche B. Parker Fund
Katharine H. Parker Scholarship
Phi Mu Alpha Sinfonia Scholarship
Marion S. Potter Scholarship
Clara Kathleen Rogers Scholarship
Florence C. Rowe Scholarship Fund
Rebecca F. Sampson Scholarship
Jesus Maria Sanroma Scholarship
George Saunders Memorial Scholarship

Edmund H. Sears Memorial

Scholarship
Southwick Scholarship
Alden Speare Scholarship
Ruth Amelia Squire Memorial Fund
Stern Family Memorial Scholarship
Helen O. Storrow Fund
Marie Sundelius Scholarship
Elizabeth Louise Walker Scholarship

Fund

Charles Warren Scholarship Fund
Leo Weidhorn Scholarship
Weston Country Evening Concert

Series Scholarship Fund
Weston-Metropolitan Hammond Organ

Club, Inc. Scholarship Fund
Weyerhaeuser Scholarship
Amasa J. Whiting Scholarship
Jennie S. Woodman Scholarship

MAJOR LOANS

Unless otherwise indicated, information and ap-
plication blanks may be obtained by writing to
the Business Office.

National Defense Student Loan Program. The New

England Conservatory participates in the National
Defense Student Loan Program.

United Student Aid Funds, Inc. Under this plan the
New England Conservatory certifies to participat-
ing local banks for loans up to $1000 per year for
students beyond their first year, and $1500 per
year for graduate students.

GENERAL LOANS

Mr. and Mrs. Philip R. Allen Endowment. A gift,
the income of which is to be used for loans to
students.

The Alvan T. and Viola D. Fuller Fund. Established
by a gift from the Alvan T. Fuller Foundation, the
income to be used for grants-in-aid to students.

The Henry Munroe Rogers Fund. A gift, the income
of which is to be used for loans to students.

The Eben Tourjee Student Aid Fund. An Alumni
Association fund, from which students may bor-
row modest sums to meet emergency situations.
Students are expected to repay these loans in
accordance with an established schedule.

Beneficent Society Loans. The Beneficent Society
of the New England Conservatory of Music has
a fund available to lend to juniors, seniors, and
graduate students of the Conservatory who have
been properly recommended, to assist them with
their tuition expenses. Loans from this fund are
made without interest, with the understanding
that they will be repaid in accordance with a
basic re-payment plan after graduation or with-
drawal, so that funds may continue to be available
for other students needing help. Meetings for the
consideration of loans will be held late in both
May and January.

STUDENT AWARDS

George Whitefield Chadwick Medal. To be awarded
annually to the senior student whose entire Con-
servatory record of achievement has been most
distinguished by superior accomplishment in the
candidate's major field, supplementary studies,
extracurricular activities, and good citizenship.
The recipient will be determined by decision of
the Faculty Council.

Faculty Council Citation. The Faculty Council Cita-
tion is an award made by the Council to a graduate
student who has maintained an exceptional rec-
ord and has shown superior qualities of scholar-
ship. This award was initiated at the Commence-
ment Exercises in June, 1964, and may not neces-
sarily be awarded annually.

FORM OF BEQUEST

Date

I give, devise, bequeath the sum of dollars ($ 000) to the

New England Conservatory of Music (a Massachusetts corporation of Boston, Massa-
chusetts) to be used for its corporate purposes.

Signed

Address

Please return to: President's Office

New England Conservatory of Music
290 Huntington Avenue
Boston, Massachusetts 02115

FACULTY AWARDS

Philip R. Allen Chair in Chamber Music. A fund
established by a gift from Mr. and Mrs. Philip R.
Allen and Mr. and Mrs. Carl A. Weyerhaeuser the
income of which is to be used to endow a chair
or chairs in chamber music.

Hyman Aronowitz Memorial Fund for Teachers. A

gift of the Hyman Aronowitz Family Association
in memory of the late Hyman Aronowitz, whose
six daughters attended the Conservatory. When
the income from the fund has reached a specified
amount, it is to be used annually for the benefit

of one or more teachers selected by the President
of the Conservatory. The Fund is open to sub-
scription by friends, and the public.

Frederick S. Converse Fellowship. Awarded by the
Executive Committee to a member of the theory
department, such member to be recommended by
the President, for assisting in the supervision and
administration of courses in the field of music
theory, and for the purpose of achieving an effec-
tive coordination.

Walter W. Naumburg Professorship in Music. In-
come from a bequest under the will of Walter W.
Naumburg to endow professorships in music.

HEALTH INSURANCE PLAN

An insurance plan providing sickness and acci-
dent benefits is provided for all Conservatory
students. The insurance covers a twelve-month
period and provides up to $500.00 in benefits for
each accident; sickness payments are made on a
prearranged schedule.

MEDICAL SERVICE FOR
DORMITORY RESIDENTS

Available to all dormitory residents are care in
the dormitory infirmary and emergency treatment
by a resident nurse. In addition, the Conservatory
has arranged with a group of physicians for 24-
hour-per-day telephone consultation and emer-
gency treatment if necessary. The physicians hold
clinics at the dormitory infirmary three times per
week. Emergency hospital treatment is available
at the Emergency Ward of the Massachusetts
General Hospital, under the supervision of one
of the Conservatory physicians.

Students requiring special attention may arrange
visits with one of the physicians at his office.
Charges for this additional service are nominal.

PI KAPPA LAMBDA

The New England Conservatory chapter of Pi
Kappa Lambda, the national music honor society,
each year elects to membership a number of sen-
iors and graduate students. Such election is in-
dicative of extraordinary attainment in music,
together with the personal qualifications necessary
for success in the field.

In addition to other activities, Pi Kappa Lambda
endeavors to stimulate high standards of musical
achievement by conducting an annual scholarship
competition open to all performers returning for
graduate study.

COMPOSERS' FORUMS

Monthly during the academic year, student com-
posers at the Conservatory present workshop per-
formances of original works at Composers' For-
ums. Composition students, faculty members, and
other members of the Conservatory community
attend these sessions, at which each new com-
position is analyzed and discussed. The student
composers in attendance, as well as those whose

works are performed, consider the Composers'
Forums a valuable educational experience.

RADIO AND TELEVISION

The Conservatory is a member of the Lowell In-
stitute Cooperative Broadcasting Council and
shares with other institutions the facilities of Sta-
tions WGBH-FM and WGBH-TV (Channel 2). On
television, the Conservatory presents its faculty
and students in various forms of musical per-
formance monthly during the academic year.
Weekly radio broadcasts of full-length concerts
by student and faculty ensembles and by the per-
forming organizations are presented from Jordan
Hall over WGBH-FM. These programs are also
heard over WAMC-FM in Albany, WFCR-FM in
Amherst, WHRB-FM in Cambridge, WBAI-FM in
New York City, WAMU-FM in Washington, D.C.,
WUHY-FM in Philadelphia, and CJRT-FM in
Toronto.

PLACEMENT BUREAU

The Placement Bureau provides for conservatory
students and graduate alumni a wide variety of
opportunities for professional positions through-
out the country. Especially successful has been
the placement of musicians in public and private
schools and in symphony orchestras. The Bureau
prepares for each graduate a dossier of informa-
tion concerning his education and experience.
These credentials are kept on permanent file and
are available to support future applications for
new positions.

In addition to recommending candidates for per-
manent positions, the Placement Bureau helps
students secure part-time positions in churches,
orchestras, and choruses, and in "spot" jobs in
performing as well as in some forms of non-
musical employment.
SUMMER SCHOOL

The New England Conservatory has an eight-week
summer school which offers opportunity for class
and private study. For full information about sum-
mer instruction, write Director of Admissions,
Boston Summer School.

THE EXTENSION DIVISION

The New England Conservatory offers musical
training in the Preparatory School to students of
pre-college (3-18) age and a program of musical
for non-degree course adult students in the AduJt
Extension Division. Write for catalogue.

GRADE SYSTEM

Grades, based on regular class work, examinations, and attendance, are re-
corded in every subject at the end of each semester.

A Excellent

B Good D Poor' DutPassing wp Withdrew Passing

C Satisfactory E Failure WF Withdrew Failing

INC Final examination not taken; grade becomes E unless work is
made up within the first six weeks of the next semester in which
the student is registered.

Members of performing organizations are graded
S (Satisfactory) or U (Unsatisfactory], except that
in cases of exceptional merit, the grade of A
(Excellent) may be given.

(To earn credit, graduate courses must be com-
pleted with a grade of A or B, Both semesters of
full-year graduate courses must be taken. The
final grade in these courses is a cumulative grade
for the year.)

HONORS

Honors are awarded to students receiving the
Bachelor of Music degree on the basis of scholas-
tic average throughout the entire course.

Highest Honors Awarded to the person
achieving the highest average

Honors with Distinction For an average of
3.75 or higher

Honors For an average between 3.25 and
3.74

(A=4, B = 3, C = 2, D=l; in averaging, the grades
are weighted by credit earned.)

DEAN'S LIST

Students who earn A or B in all subjects in a
given semester are placed on the Dean's List.

VETERANS

The New England Conservatory curricula leading
to the Bachelor of Music degree, the Diploma, and
the Master of Music degree are approved by the
Veterans Administration for veterans eligible to
receive training benefits under Chapter 31 of
title 38 (P.L. 894), Chapter 33 of title 38 (P.L. 550),
and Chapter 35 of title 38 (P.L. 634).

GENERAL REGULATIONS

Responsibility and authority for the admission,
continuance, promotion, and graduation of stu-
dents is vested in the President, the Deans, the
Faculty Council, and the Undergraduate Faculty
Board. The New England Conservatory reserves
the right to refuse, suspend, or cancel the regis-
tration of any student whose acceptance or con-
tinued attendance is considered to be detrimental
to the best interests of the student or of the
college.

Students are expected to attend all classes and
lessons regularly. When in the opinion of any
faculty member a student's attendance is unsatis-
factory, the Dean will take appropriate action.
Official excuses for illness will be granted by the
Registrar when evidence of sufficient cause is
presented before the scheduled class or lesson
time. Normally, no excuses from classes or les-
sons will be granted for reasons other than illness;
however, exceptions may be made by the Dean in
cases of emergency.

Changes of course or section and the addition or
cancellation of courses must be approved by the
Dean. Failing grades will be recorded for courses
cancelled without such approval. Permission for
change is not normally granted after the second
week of a semester; in the event it is, a permanent
grade (WP or WF) will be recorded.

Practice facilities may be used only with clear-
ance from the Registrar.

All matters regarding tuition, fees, and rentals are
the responsibility of the Business Manager.

BOARD OF TRUSTEES
EXECUTIVE COMMITTEE

Sherwin C. Badger, Chairman

David C. Crockett, Vice-Chairman

Mrs. Brooks Potter, Vice-Chairman

G. Wallace Woodworth, Vice-Chairman

Robert J. Sullivan, Treasurer

James L. Terry, Secretary

Chester W. Williams, Ex Officio

John H. Funk
Francis W. Hatch, Jr.
Mrs. Albert B. Hunt
Edward F. MacNichol
Mrs. Ross A. McFarland
Thomas D. Perry, Jr.
Nathan B. Talbot
Wm. Bradford Traff ord

1966

Mrs. A. G. Bucklin

Edward F. MacNichol

J. Gregory Smith

Mrs. Henry F. Colt

John R. McLane

George L. Stout

John G. Cushman

Mrs. Guido Perera

Mrs. Byron G. Tosi

Francis W. Hatch

George L. Powell

Wm. Bradford Trafford

Edward P. Richardson, Jr.

1967

Mrs. Hugh Carney

Mrs. John P. Monks

Paul C. Reardon

Robert E. Gregg

Mrs. Julius C. Morse

Mrs. Aldus C. Higgins

Nathan B. Talbot

Mrs. Albert B. Hunt

Thomas D. Perry, Jr.

James L. Terry

Harrison Keller

Perry T. Rathbone

Mrs. Philip S. Weld

1968

William T. Aldrich

John H. Funk

Vincent Morgan

Talcott M. Banks

David H. Howie

Mrs. Brooks Potter

Mrs. Robert P. Booth

Mrs. Nancy H. Leghorn

Mrs. H. S. Payson Rowe

George R. Brown

Reuben L. Lurie

Robert J. Sullivan

Henry B. Cabot

Mrs. Charles E. Mason, Jr.

Mrs. Albert C. Titcomb

Ford H. Cooper

Mrs. Ross A. McFarland

G. Wallace Woodworth

1969 A. Howard Abell
Sherwin C. Badger
Mrs. Bart W. Baird
John W. Bryant
Joseph A. Coletti

David C. Crockett
Miss Mabel Daniels
F. Murray Forbes, Jr.
Francis W. Hatch, Jr.
Mrs. Hollis Hunnewell

Mrs. Laurence M. Lombard

A. Tillman Merritt

Mrs. Edwin N. Ohl

Mrs. John D. Rockefeller, Jr.

Richard A. Spindler

Mrs. Carl A. Weyerhaeuser

Term of office expires at Annual Meeting in the calendar year indicated.
For one year: Dr. Edward J. Fitzpatrick, representing the Alumni Association.

FACULTY BIOGRAPHIES

JEAN POOLE ALDERMAN B.A. (University of Roches-
ter), M.A. (Columbia University), Harvard Univer-
sity, Boston University, Berkshire Music Center.
Piano with Max Landow, Sandor Vas, Mme. Simone
Barere, Robert Pace. Faculty, New York Institute
for the Education of the Blind, 1950-54. South End
Music Center, 1954-56. Beaver Country Day School,
1955-60. European tour in violin-piano duo for State
Department and Special Services, 1957. Ensemble
and solo recitals and television appearances in New
England. Beebe Fellowship, 1964.

MILDRED ARMSTRONG B.M. (North Texas State Uni-
versity), M.M. (NEC), Akadamie Fur Musik. Former
member, North Texas State Opera Workshop and
NEC Opera Workshop. Fulbright Fellowship, 1962.
Organist, St. Michael's, Milton, (Mass.).

ietter, 1960- Member, The English Institute, Mod-
ern Language Association, American Association of
University Professors, National Council of Teachers
of English, Renaissance English Text Society.

ROBERT BRINK Malkin Conservatory of Music, Har-
vard University, Boston University, N.E.C. Violin
with Jacques Malkin, Albert Spalding. Theory with
Nicholas Slonimsky, Suzanne Block. Composition
with R. Henning. Piano with Jules Wolffers. Fac-
ulty, Boston University School of Fine and Applied
Arts, 1954-59. Member, Brink-Pinkham Duo, Ham-
den Trio, Brink-Barker Duo. Concertmaster, Cam-
bridge Festival Orchestra. Annual concert tours in
United States, Canada, Europe. Solo radio appear-
ances on CBS, CBC (Canada). Recordings.

ALBERT YVES BERNARD LL.B. (Faculty of Law, Paris
University), Diploma with medal in solfege, Diploma
with first prize in viola (Paris Conservatory). Viola
with Maurice Vieux. Chamber music with Lucien
Capet and M. Tournemire. History of music with
M. Emmanuel. Former member, Paris Opera Or-
chestra, Concerts Colonne, Oberdorffer String Quar-
tet (Paris), Chardon String Quartet (Boston). First
viola, Esplanade Orchestra (Boston), 1929-54. Mem-
ber, Boston Symphony Orchestra. Faculty, Berkshire
Music Center. Officier d'Academie for distinguished
service to music.

MAX BLUESTONE B.N.S. (College of the Holy Cross),
A.M., Ph.D. (Harvard College). Teaching fellow and
research assistant, Harvard, 1952-55. Faculty, Haver-
ford College, 1955-57; Babson Institute, 1957-62.
Visiting lecturer, Harvard Graduate School of Edu-
cation, 1962. Director, English education, Harvard
Graduate School of Education, 1962-65. Education-
al Testing Service and College Examination and
Research Project, 1954-65. Educational consultant,
Education, Inc. Staff editor. The Shakespeare News-

DALPHIA R. H. BROWN Syracuse University; B.A.
(University of Vermont) M.Ed. (Harvard). Former
faculty member, Belmont High School, Belmont,
(Mass.).

RICHARD BURGIN Artist's Diploma (Imperial Con-
servatory of St. Petersburg). Violin with Isadore
Lotte, Joseph Joachim, Leopold Auer. Concertmas-
ter, Helsingfors, Finland. Solo recitals and appear-
ances in Russia, Sweden, Norway, Denmark. For-
mer Concertmaster, Boston Symphony Orchestra.
Head of Orchestral Dept., Berkshire Music Center.
Associate Conductor, Boston Symphony Orchestra.

ALICE CANADAY A.B. (Smith College), B.Mus., M.Mus.
(Yale), University of Edinburgh. Piano with John
Duke, Bruce Simonds, Bruno Eisner, Hans Gal.
Faculty, Manhattan School of Music, 1945-47, Com-
munity Music School, Buffalo, N. Y., 1950-56. Re-
citals (chamber music and solo) and radio and tele-
vision appearances. Associate Scholar, Radcliffe In-
stitute for Independent Study, 1961-62.

GINO CIOFFI Conservatory of Naples, St. Cecilia Con-
servatory, Rome. Principal clarinet with Pittsburgh
Symphony, Cleveland Orchestra, New York Phil-
harmonic, NBC Symphony under Toscanini, Metro-
politan Opera Orchestra. Faculty, Berkshire Music
Center. Principal clarinet, Boston Symphony Or-
chestra.

ROBERT COGAN B.M. with distinction, M.M. (Univer-
sity of Michigan), M.F.A. (Princeton University).
Phi Beta Kappa. Principal teachers: Ross Lee Fin-
ney, Nadia Boulanger, Aaron Copland, Roger Ses-
sions, Philipp Jarnach. Young Composer's Radio
Award, 1952; Fulbright Scholarship, 1952-53; Chopin
Scholarship, 1954; German Government Grant,
1958-60. Works performed by the Cleveland Orches-
tra, Hamburg Radio Orchestra, RIAS Orchestra of
Berlin, League of Composers, Rothschild Founda-
tion, various universities and radio stations in the
United States and Europe. Critical writing pub-
lished in North and South America. Lecturer for
the United States Information Agency; member,
Board of Directors, U. S. section, International So-
ciety for Contemporary Music, 1964-67.

ANDRE COME Trumpet with Marcel LaFosse. Mem-
ber, United States Air Force Band, Baltimore Sym-
phony Orchestra. Member, Boston Symphony Or-
chestra, since 1957.

FRANCIS JUDD COOKE A.B. (Yale), Mus.B. with high-
est honours (University of Edinburgh, with Sir
Donald F. Tovey). Composition with Charles M.
Loeffler. Violoncello with Emmeran Stoeber. Piano
with Inge R. Ringnes, Anne L, Fyffe. Organ with
Rebecca Burgner. Visiting Professor, Yale Univer-
sity, 1959-60, 1962-63. Organist and Choirmaster.

MALCOLM L. CREIGHTON Harvard College, Diploma
(N.E.C.), B.Mus., M.Mus. (Northwestern University).
Piano with Howard Goding, Louis Crowder, Gui
Mombaerts. Teacher of piano, Northwestern Uni-
versity Preparatory Department, 1942-43; faculty,
Wheaton College, 1949.

Conducting with G. Wallace Woodworth, Robert
Shaw. Composition with A. T. Davison, Walter
Piston, Nadia Boulanger. Assistant Conductor, Rad-
cliffe Choral Society and Harvard-Radcliffe Choir.
Conductor, Bryn Mawr College Choir and Assistant
Professor of Music, 1943-47. Faculty, Berkshire Mu-
sic Center, since 1952. Guest conductor of Eastern
high school, preparatory school, and college choral
festivals.

DORIOT ANTHONY DWYER Mus.B. (Eastman School
of Music), Flute with Liegl, Barrere, Mariano, Kin-
caid. Member, Los Angeles Philharmonic, National
Symphony Orchestra, Alice Ehler's Ancient Instru-
mental Ensemble. Appointed by Bruno Walter first
flute of Hollywood Bowl Orchestra. Principal flute,
Boston Symphony Orchestra. Member, Boston
Woodwind Quintet. Recordings.

JULES ESKIN Curtis Institute. Former member, Dallas
Symphony, New York City Center Opera and Ballet
Orchestra. Former principal cellist, Cleveland Or-
chestra. Member, Casals Festival Orchestra, Puerto
Rico. Principal cellist, Boston Symphony Orches-
tra. Member, Boston Symphony String Quartet.

POZZI ESCOT Staatliche Hochschule fur Musik, Ham-
burg. B.A. (Juilliard School of Music). Principal
teachers: Andres Sas, William Bergsma, Phillip
Jarnach. Peruvian National Prize in Composition,
1956. German Government grants, 1957-59. Com-
mission, first Festival of Music of Spain and United
States, Madrid, 1964; Commission, first Internation-
al Music Festival, Caracas, 1966. Works performed
by Claremont Quartet, Contemporary Chamber
Players of University of Chicago, Hartt Chamber
Players, North German Radio, Bavarian Radio,
Library of Congress, International Society of Con-
temporary Music, various universities and radio
stations in North and South America and Europe.
Critical writings and commentary, United States
and England. Former lecturer, Indiana University.
MacDowell Fellowship, 1965.

LORN A COOKE deVARON A.B. (Wellesley College),
A.M. (Radcliffe College). Voice with Olga Averino,
Irene Wilson, Conrad Bos. Piano with David Bar-
nett, Edyth G. Waxberg. Organ with Carl Weinrich.

BURTON FINE B.A. (University of Pennsylvania),
Ph.D. (Illinois Institute of Technology), Curtis In-
stitute. Principal viola, Boston Symphony Orchestra.
Member, Boston Symphony String Quartet.

EVERETT FIRTH B.M., honors with distinction (N.E.C.),
Juilliard School of Music. Timpani and percussion
with Saul Goodman, Roman Szulc, George Stone,
Lawrence White. Chamber music concert appear-
ances throughout New England. Faculty, Berkshire
Music Center, since 1953. Member, Boston Opera
Group Orchestra. Solo timpanist and Head of Per-
cussion Section, Boston Symphony Orchestra, Bos-
ton Pops Orchestra. Member, Boston Symphony
Chamber Players.

WILLIAM M. GIBSON Artist's Diploma (Curtis Institute
of Music). First trombone, Pittsburgh Symphony,
New York City Center Symphony and Opera. Mem-
ber, Philadelphia Orchestra. Principal trombone,
Boston Symphony Orchestra.

HOWARD GODING Diploma, Soloist's Diploma (N.E.C.).
Winner of Mason and Hamlin Prize. Piano with
George Proctor. Concert and recital appearances
throughout the country as soloist and with chamber
music groups. Soloist with the Boston Symphony
Orchestra and other orchestras.

GERARD J. GOGUEN B.M. (N.E.C.). Trumpet with
Georges Mager. Principal trumpet, Central Florida
Symphony. Member Boston Symphony Orchestra
since 1952.

BORIS GOLDOVSKY Artist's Diploma with high hon-
ors (Liszt Academy of Music, Budapest), Diploma
(Curtis Institute of Music). Piano. with August Kipp,
Leonide Kreutzer, Artur Schnabel, Ernst von Doh-
nanyi. Concert tours and appearances with orches-
tras in Europe. Operatic direction in Philadelphia
and Cleveland. Head of Opera School, Berkshire
Music Center (Tanglewood), 1946-61. Founder and
Artistic Director, Goldovsky Opera Theater and
Goldovsky Opera Institute, New York City. Master
of Ceremonies, Opera News of the Air, 1946-60.
Director of Opera Workshops throughout the United
States, Lectures and concert tours.

RALPH L. GOMBERG Curtis Institute of Music. Oboe
with Marcel Tabateau. At seventeen, principal oboe,
Ail-American Youth Orchestra under Stokowski.
Baltimore Symphony Orchestra, New York City
Center Symphony under Bernstein, Mutual Broad-
casting Orchestra. Principal oboe, Boston Symphony
Orchestra, since 1949.

UTA GRAF Graduate, staatlich gepruefte Privatmusi-
klehrerin, Gesang. Voice with Ria Ginster, Helene
Schlusnus, Gibner King, Margarita Mayer. Drama
with Charlotte Busch-Gadski, Anna Bahr-Milden-
burg. Coaching with Wilhelm Schuechter, Paul
Meyer, Erich Itor Kahn, Jan Behr, Thomas Mayer,
Paul Breisach, Fausto Cleva, Felix Popper. Piano
with George Kuhlmann. Faculty, Vassar College,
1949; Pennsylvania College for Women, 1953. Artist
in residence, Aspen Music School, 1950. Member,
Dusseldorf, Aachen, Koln opera houses, San Fran-
cisco Opera Company, Royal Opera Covent Gar-
den, Netherlandsche Opera. Operatic, recital and
concert appearances in Europe, United States, Can-
ada, South America. Recordings.

LEE SANFORD HALPRIN A.B. (Upsala College, 1950),
A.M. (Columbia University, 1952). Teaching Fellow,
Harvard University, 1953-59; Tufts University,
1960-61.

YUKO HAYASHI Graduate, Conservatory of Music,
Tokyo University of Arts, Japan. B.M., M.M.,
Artist's Diploma (N.E.C.). Organ with Michio
Akimoto, Kohten Okuda, George Faxson, Donald
Willing, further study with Anton Heiller. Harpsi-
chord with Margaret Mason, further study with
Gustav Leonhardt. Faculty, Feris Seminary, organ-
ist in N.H.K. Symphony Orchestra, Japan. Organ
recitalist and church organist.

JAMES HOFFMANN B.M. (N.E.C.), M.M. (Yale Univer-
sity), D.M.A. (University of Illinois). Faculty, Ober-
lin College, 1959-62; San Jose State College, 1963-64.

MALCOLM GOLDSTEIN B.A., M.A. (Columbia Univer-
sity). Former faculty member, Columbia University,
New School for Social Research, New York City.
Former member, Roads Chamber Ensemble.

JOHN A. HOLMES B.M. (Eastman School of Music).
Member of orchestras of Oklahoma City, Kansas
City, Buffalo, Washington, and St. Louis. Faculty,
Boston University. Soloist, South American Tour
of Zimbler Sinfonietta, 1957. Member, Boston Sym-
phony Orchestra, since 1946.

HOMER HUMPHREY Emeritus

PERCY F. HUNT Emeritus

JANET IRVING Barnard College; B.S. in Music Educa-
tion (Columbia University). Member, Columbia Uni-
versity Choir; Dessoff Choir under Margarete Des-
soff. Voice with Frantz Proschowski, Madame Ce-
cille Gilly (Paris), Prof. Jacques Struckgold, Signora
Toti Dal Monte (Italy). Master classes in French
repertoire with Dame Maggy Teyte. Coaching with
Mary Garden, Peter Gellhorn, George Reeves. Re-
citals, broadcasts, and symphony concert appear-
ances as soloist in Europe and South Africa. Fac-
ulty, Longy School of Music, 1962-64.

FREDERICK JAGEL Voice with Vincenzo Portanova,
Adele Borghi, Corace Cataldi-Tassoni, William
Brady. Opera with Carlo Peroni, Riccardo Dallera.
Lieder with Victor Ernst Wolff, Kurt Schindler.
Opera in Italy, Holland; Colon of Buenos Aires,
Argentina; Municipal of Rio de Janeiro, Sao Paulo,
Brazil; Bellas Artes, Mexico City; Chicago Opera
Company, San Francisco Opera Company, Cincin-
nati, New Orleans, and others. Leading tenor, Met-
ropolitan Opera Company, 1927-51. Song recitals
throughout the United States, Canada, and South
America. Concerts with all leading symphony or-
chestras in the United States.

RICHARD KAPUSCINSKI Graduate of Curtis Institute
of Music. Cello with Leonard Rose and Felix Sal-
mond. Former member, Cleveland Orchestra, Balti-
more Symphony, La Salle Quartet. Former head,
cello department, Peabody Conservatory. Member,
Boston Symphony Orchestra, since 1960; originat-
ing member, Boston Arts Quartet and Gabrielli Trio.

HELEN KEANEY B.M. (N.E.C.). Piano with Frederic
Tillotson, Boris Goldovsky. Harpsichord with Mar-
garet Mason, Daniel Pinkham. Harmony with Nadia
Boulanger. Counterpoint with Everett Helm, Francis
Judd Cooke. Solfege Pedagogy with Minna F. Holl.
Former faculty member, Longy School, Boston Mu-
sic School, Brookline Music School.

PAUL F. KEANEY Longy School of Music. Horn with
Willem Valkenier. Faculty, Longy School of Music,

1939-43; Boston Center for Adult Education, 1952-
56; Boston Music School, since 1940. Member, Bos-
ton Symphony Orchestra, since 1937.

ALFRED KRIPS Violin with Willy Hess. Member, Ber-
lin State Opera Orchestra. Faculty, Berkshire Mu-
sic Center, since 1940. Boston Symphony Orches-
tra, since 1934, Assistant Concertmaster, since 1946.
Concertmaster, Boston Pops Orchestra.

EUGENE LEHNER Graduate, Royal Conservatory of
Music, Budapest. Violin with Jerio Hubay. Composi-
tion with Zoltan Kodaly. former member, Kolisch
Quartet and Stradivarius Quartet. Member, Boston
Symphony Orchestra, since 1939. Faculty, Berkshire
Music Center, Brandeis University, Wellesley Col-
lege, Boston University. Fellow, American Academy
of Arts and Sciences.

ANNA S. LOTHIAN Emeritus

TAMAR MARCH B.A. (Brooklyn College), M.A. (Har-
vard), Diplome (Cite Club Universitaire de Paris).
Woodrow Wilson Fellow. Phi Beta Kappa. Member,
Pi Delta Phi (Societe d'honneur francaise). Instruc-
tor of French, St. Paul's College, Lawrenceville, Vir-
ginia. Member, Alliance Francaise.

LESLIE MARTIN Cornish School of Music, Seattle,
Wash.; University of Washington; American Con-
servatory, Chicago. Faculty, University of Washing-
ton, 1947-57. Extensive studio and jazz experience,
N.B,C. Hollywood: Jan Garber, Skinnay Ennis, Ted
Weems, and Gene Krupa Orchestras. Principal con-
trabass, Seattle Symphony Orchestra, 1947-57.
Principal contrabass, orchestra and opera. Berk-
shire Music Center, 1950. Member, Boston Sym-
phony Orchestra, since 1957.

MARGARET C. MASON Emeritus

CARL McKINLEY Emeritus

JOYCE MEKEEL Paris Conservatory; B.M., M.M. (Yale
University School of Music). Study with Nadia
Boulanger and Ralph Kirkpatrick. Compositions
performed at Louisville Festival of Contemporary
Music; New Dimensions in Music, Seattle; universi-
ties and radio stations. Composed music for pro-
ductions of the MacCar'ter Theater Company,
Princeton, 1961-64. Recipient of Ingram-Merrill
grant in composition, 1964.

GLADYS CHILDS MILLER Teacher's and Soloist Di-
ploma, B.M. (N.E.C.). Voice with Charles Adams
White, Rulon Robison, Morris Williams, Dr. Frank E.
Miller. Master classes with William Brady, Chica-
go. Coaching with Madame Matzenauer and George
Reeves, New York City. Assistant to Dr. Miller, New
York, 1926-28. Concert, orchestral, church, and ora-
torio appearances in Boston and New York.

GEORGES E. MOLEUX Diploma, first prizes in contra-
bass and clarinet (Paris Conservatoire). Contrabass
with Ed. Nanny. Clarinet with P. Minart, H. Para-
dis, Aug. Perrier. Faculty, Berkshire Music Center,
since 1940. Contrabass soloist, Concerts Classiques
of Monte Carlo. Clarinet soloist, Opera of Monte
Carlo. Principal contrabass, Concerts Pasdeloup,
Paris. Officier, d'Academie for distinguished service
to music. Principal contrabass, Boston Symphony
Orchestra. Recordings. Double-bass recitals in
Europe and U.S.A. Jury-member, The National
Conservatory, Paris, and The Conservatory of Mu-
sic, Montreal, Canada.

LUCILLE MONAGHAN Diploma with special honors
in ensemble, Soloist's Diploma with- highest honors
(N.E.C.). Piano with Richard Stevens, Harold Bauer;
Nadia Boulanger, Lazare Levy (Paris); Irene Schar-
ter, Franz Osborn (London). Master classes with
Harold Bauer. Composition with Frederick Con-
verse. Winner of Mason ^nd Hamlin prize. Beebe
Scholarship for foreign study and travel. Concert
appearances in United States. Soloist, Boston Sym-
phony Orchestra, Boston Pops Orchestra.

RICHARD MOORE B.A. (Yale University); M.A.
(Trinity College); Boston University. Former facul-

ty, Trinity College, Burlington (Vermont). Teaching
fellow, Boston University. Fulbright Fellowship,
1958. Poetry published in The New Yorker, The
Atlantic Monthly, Harper's Magazine, The Reporter,
Saturday Review, and Transatlantic Review.

JOHN MORIARTY Brandeis University; B.M. with
highest honors (NEC). Recipient of Chadwick Med-
al (NEC), 1952. Piano soloist with Boston Pops
Orchestra, Radio Eireann Orchestra (Dublin), and
in New York, Naples, Rome and Paris. Artistic
Administrator and stage director, Opera Society of
Washington, 1960-62. Visiting stage director, Boston
Conservatory, 1963-65. Artistic administrator and
stage director, Santa Fe Opera Company, 1962-
Stage director and producer, opera, WGBH-TV,
WBZ-TV, WHDH-TV, Boston. Frank Huntington
Beebe Scholarship, 1954. Former faculty, NEC,
1955-61.

JOHANNA H. OLDENBURG University of Hamburg,
University of Munich. Translator for the U.S. Gov-
ernment. Faculty, Northeastern University and
Emmanuel College.

ERNST PANENKA Master's Degree (Vienna Academy
of Music). Member, Volksoper Orchester, Vienna,
1926-29. Member, Boston Symphony Orchestra.

JAMES PAPPOUTSAKIS N.E.C. Flute with Georges
Laurent. Member of Boston Symphony Orchestra
since 1937. Solo flutist of Boston Pops Orchestra
since 1937. Soloist, Zimbler Sinfonietta, Central and
South America; Cambridge Society for Early Music.
Member, Berkshire Woodwind Ensemble. Faculty,
Boston University, Longy School of Music, Boston
Conservatory of Music.

LOUISE CAME PAPPOUTSAKIS Graduate, National
Conservatory of Paris. Harp with Bernard Zighera,
Marcel Tournier (Paris). Former member of Boston
Symphony and Boston Pops Orchestra. Faculty,
Wellesley College, Boston Conservatory of Music.

THOMAS PHILIPS A.B. cum laude, M.A. (Harvard),
Yale School of Music, Longy School of Music, Berk-

shire Music Center. Conducting with G. Wallace
Woodworth, Francis Findlay, Hans Swarowsky.
Stage direction with Boris Goldovsky. Voice with
Olga Averino and Herbert Mayer. Fulbright Schol-
ar, Akademie fur Musik und darstellende Kunst,
Vienna. Formerly, Opera Workshop Director, Longy
School of Music; Choral and Stage Director, Seagle
Colony; Musical Director, Brattle Theater; pianist-
conductor, Theatre Guild, Inc. Assistant to Boris
Goldovsky, Goldovsky Opera Theater. Director of
Music and Dramatics, Browne and Nichols School.
Director, Hingham Choral Society. Production Man-
ager, Carousel Theatre.

DANIEL PINKHAM A.B., M.A. (Harvard), Berkshire
Music Center, Longy School of Music. Composition
with Walter Piston, Aaron Copland, Arthur Hon-
egger, Samuel Barber, Nadia Boulanger. Organ with
E. Power Biggs. Harpsichord with Claude Jean
Chiasson, Putnam Aldrich, Wanda Landowska.
Choral conducting with G. Wallace Woodworth.
Orchestral conducting with Stanley Chappie. Ful-
bright Fellowship, 1950. Ford Foundation Fellow-
ship, 1962. Fellow, American Academy of Arts and
Sciences. Visiting lecturer, Harvard University,
1957-58. Music Director, King's Chapel, Boston. Con-
ductor, Cambridge Festival Orchestra. Harpsichord-
ist, Brink-Pinkham Duo. Frequent Appearances with
Boston Symphony Orchestra. Compositions include
VioJin Concerto, Piano Concertino, cantatas, choral
pieces, chamber works, film scores, two symphonies,
Christmas Cantata, Easter Cantata, Requiem, Cat-
acoustical Measures, Saint Mark's Passion.

RUTH POSSELT Violin with Ondricek, Enesco, Thi-
baud. Debut in Carnegie Hall; introduced in Europe
by Pierre Monteux and the Orchestre Symphonique
de Paris; in Spain under the auspices of Pablo
Casals. Recitals, chamber music concerts, appear-
ances as soloist with orchestras throughout Europe
and United States. Member, Bel Arte Trio. Faculty,
Berkshire Music Center, since 1950; Wellesley Col-
lege, since 1952. Recordings.

RALPH POTTLE, JR. B.Mus., B.A. (Southeastern Lou-
isiana College), M.M. (N.E.C.). French horn with
W. Valkenier. Winner of Fulbright award for study
in Vienna. Faculty, Louisiana State University,
1955-57; Boston University, 1957-61. Member, Fine
Arts Woodwind Quintet, Boston. Played with vari-
ous orchestras including Boston Symphony Orches-
tra.

FREDERIK PRAUSNITZ Graduate, Juilliard Graduate
School, 1945. Professional debut with Detroit Sym-
phony in 1944 as winner of Symphony Award for
Young Conductors. Director of Choral Music and
Associate Conductor of the Juilliard Orchestra un-
til 1961. Former Associate Director of Public Ac-
tivities and Assistant Dean, Juilliard School of Mu-
sic. Seventeen tours of Europe since 1957; guest
conductor for the BBC with London Symphony Or-
chestra, the Philharmonia and Royal Philharmonic
Orchestras of London, English Chamber Orchestra,
and BBC Welsh Orchestra; Santa Cecilia Orchestra
in Rome, RAI Orchestras of Turin and Milan; Or-
chestre de la Suisse Romande in Geneva, Swiss
Radio Orchestra of Zurich and Basel; Vienna Sym-
phony and Munich Philharmonic Orchestras, Radio
Orchestras of Munich, Hamburg and Cologne. Guest
conductor at International Festival of Jeunesses
Musicales in 1959 and 1963; directed Juilliard Or-
chestra at Salzburg Festival, Copenhagen, Hamburg,
Konstantz Festival, Brussels World Fair in 1958.
Columbia and Epic recordings.

MARK PEARSON B.A. (Oberlin College); M.A. (Stan-
ford University). Concert, church, and oratorio
appearances in Canada and northeastern United
States. Opera with Santa Fe Opera Company,
Former faculty member, Longy School of Music.
Former voice coach, Harvard Glee Club.

DAVID S. PERRY B.A., M.A. (Columbia University).
Former faculty member, Columbia University, Ham-
ilton College. Assistant Professor, Simmons Col-
lege, 1962-

MALCOLM C. PEYTON B.A., M.A. (Princeton Univer-
sity). Piano with Edward Steuerman. Composition
with Roger Sessons, Edward F. Cone, Wolfgang
Fortner, Aaron Copland. Woodrow Wilson Fellow-
ship, 1955. Fulbright Fellowship, 1956. Former
faculty, Princeton University. Works performed by
the Princeton Symphony Orchestra, and in Town
Hall and Carnegie Hall, New York City.

SANDRA PROVOST B.M. (Oberlin College), M.M.
(NEC). Mozarteum, Salzburg. Former member,
Gilbert & Sullivan Players, NEC Opera Theater.
Summer stock, midwest and eastern United States.

JARBARA ANNE REUTLINGER Teacher's College, Hof-
heim in Taunus, Germany; Harvard University Sum-
mer School; Boston University. Former faculty
member, Language Research, Inc. (Harvard Univer-
sity), Boston Center for Adult Education.

JOSEPH SILVERSTEIN Curtis Institute. Member, Hous-
ton, Denver, and Philadelphia Orchestras. Prize-
winner at 1959 Queen Elisabeth Music Competition
in Belgium. Winner of 1960 Naumburg Foundation
Award. Concertmaster, Boston Symphony Orches-
tra. Member, Boston Symphony String Quartet.

1 ATT HEW RUGGIERO New School of Music, Phila-
delphia; Graduate, Curtis Institute. Study with Fer-
dinande Del Negro and Marcel Tabateau. Bassoon
soloist, Marlboro Music Festival. Former member,
National Symphony Orchestra. Member, Boston
Symphony Orchestra.

DONALD SMITH Diploma, M.M. (N.E.C.). Piano with
Louis Cornell, Egon Petri. Organ with Henry M.
Dunham, Francis Snow. Graduate work with Karl
Geiringer and Hugo Norden at Boston University.
Faculty, Lowell State College. Church organist and
choir director.

rilKLOS SCHWALB Artist's Diploma (Budapest Con-
servatory). Piano with Alexander Kovacs, Ernst
von Dohnanyi. Composition with Zoltan Kodaly
and Leo Weiner (Budapest). Concert ard radio work
in Europe. Appearances as soloist and recitalist,
United States and Puerto Rico. Television concerts.
Recorded for Golden Crest Records the entire sec-
ond volume of Brahms complete works, including
every intermezzo, capriccio, and rhapsody. Video-
taped four programs of the same works for the
National Educational Television Network.

HARRY SHAPIRO Juilliard School of Music. Former
faculty member, Boston University, Wellesley
College. Member, Boston Symphony Orchestra.

JLARA SHEAR B.M. (Boston University). Voice with
Weldon Hunt. Opera in Europe; Chicago Civic
Opera Company, San Carlos Opera Company.
Recitals and symphony concert appearances as
soloist in Europe and United States. Former faculty
member, Boston University.

IERBERT H. SILVERMAN B.M. (N.E.C.), Ed.M. (Har-
vard), Ed.D. (Boston University). Studied with Hugo
Leichtentritt, Louis Kloepfel. Conductor, Boston
Madrigal Society. Instructor, Boston Public Schools,
1939-42; Supervisor, Westerly (R. I.) Schools, 1946-
47; Associate Director, Boston University Work-
shops in Music Education. Director of Music, Mai-
den Public Schools, since 1947. Contributor to state
and national periodicals. Conductor and Adjudi-
cator, state and New England festivals.

KILTON VINAL SMITH N.E.C. Study with Jacob Raich-
man and Louis Kloepfel. Member, Boston Sym-
phony Orchestra, since 1934.

WARREN STOREY SMITH Emeritus

LOUIS SPEYER Diploma, first prize in oboe (Paris
Conservatory). Conductor of chamber orchestras at
Berkshire Music Center; Sanders Theatre, Cam-
bridge; Pops Concerts. Music Director, Berkshire
Woodwind Ensemble. Recipient, medal of "Recon-
naissance Francaise" and French Legion of Honor;
medal of the Elizabeth Coolidge Foundation of the
Library of Congress, for eminent services to cham-
ber music. Assistant Music Director, Music Center,
Tanglewood.

JAMES STAG LI AN O Horn with Joseph Stagliano, Al-
bert Stagliano. Principal horn, Detroit Symphony,
Los Angeles Symphony, St. Louis Symphony, Chi-
cago Symphony, NBC Symphony. Principal horn,
Boston Symphony Orchestra, since 1946.

CAROL O. SYKES B.M., M.M. (N.E.C). Former faculty,
Weston Public Schools, Weston (Conn.). Faculty,
Newton, (Mass.), Public Schools. Violin soloist,
Boston and Pittsfleld, (Mass.). Member, board of
directors, NEC Alumni Association; Music Edu-
cators National Conference.

WILLIAM TESSON Graduate, Bentley College of Ac-
counting and Finance; B.M. with highest honors
(first winner of Chadwick Medal), MM. (N.E.C.).
Trombone with John Coffey. Theory and composi-
tion with F. Judd Cooke. Conducting with Attilio
Poto, Richard Burgin, Monteux School for Conduct-
ors. First trombone for two years, touring with the
Ballet Russe de Monte Carlo. Two seasons with
the Boston Pops Orchestra. Substitute member,
Boston Symphony Orchestra. Opera, ballet, musical
theatre orchestras. Band Director, Wentworth In-
stitute.

MARION R. TRONERUD A.B. (Chestnut Hill College),
A.M. (Harvard). Former faculty member, Univer-
sity of Maine.

Tabateau. Faculty, Roosevelt College, 1949-51;
Berkshire Music Center, since 1953. Former princi-
pal bassoon, Chicago Symphony Orchestra. Prin-
cipal bassoon, Boston Symphony Orchestra, Boston
Woodwind Quintet. Recordings.

LETA F. WHITNEY B.S. (Russell Sage College), B.M.
(N.E.C.), Ed.M. (Harvard). Voice with William L.
Whitney. Opera with Valentino Trinci (Florence).
Opera, concert, church solo and lecture appear-
ances in Italy and United States. Music instructor,
Newton Public Schools, 1940-43; Supervisor of Ele-
mentary Music, Quincy Public Schools, 1945; Direc-
tor of Music, North Quincy High School, 1945-47.
Adjudicator at state festivals in New England.

FELIX A. VISCUGLIA B.M. (N.E.C.) Clarinet with Ro-
sario Mazzeo. Member, Fine Arts Woodwind Quin-
tet. Soloist and Clinician. Appearances in Boston,
New England, Philadelphia, New York, the Mid-
west, and Canada. Director, Woodwind Ensemble,
M.I.T. Faculty, M.I.T. and Wheaton College.

ROGER VOISIN Diploma (College St. Julien), Diploma
with first prize in trumpet and solfege (Conserva-
toire de Musique). Trumpet with Rene Voisin, Mar-
cel LaFosse. Faculty, Navy School of Music, 1941-
43; Boston University, 1948-52; Berkshire Music
Center, since 1950. Principal trumpet, Boston Sym-
phony Orchestra. Recordings.

VERONICA JOCHUM VON MOLTKE Graduate, Staat-
liche Hochschule fur Musik. Master class in piano,
Maria Landes-Hindemith. Principal teachers: Josef
Benvenuti, Edwin Fischer, Rudolf Serkin. Concert,
radio, and television work in United States, Europe
and South America. Appearances as soloist with
major European, United States, North and South
American orchestras. Recordings with Deutsche
Grammaphon, solo works by Schumann. German
State Department tour, 1964. Former faculty mem-
ber, Settlement School of Music, Philadelphia,
1959-61.

SHERMAN WALT University of Minnesota, Curtis In-
stitute of Music. Bassoon with William Santucci,
Ferdinande Del Negro. Chamber music with Marcel

DONALD WILLING Teacher's Certificate, Artist's Di-
ploma, Thomas Prize in Organ-playing (Peabody
Conservatory of Music), Berkshire Music Center
under Robert Shaw. Organ with Louis Robert,
Charles M. Courboin, Virgil Fox. Composition with
Howard R. Thatcher, Gustav Strube. Chairman,
Organ Department, Trinity University, San An-
tonio, 1948-56. Director of choral activities includ-
ing Touring Choir, Trinity University, 1951-56. Or-
gan recitals in U.S., Germany, Switzerland, Austria,
Haiti.

FELIX WOLFES Piano with Robert Teichmueller. Com-
position with Max Reger and Hans Pfitzner. Con-
ductor of operas and concerts in Germany, France,
Australia. Assistant Conductor, Metropolitan Opera
Company, 1938-45. Faculty, Berkshire Music Center,
1941-61. Composer of some 150 songs, a number of
which have been published, in five volumes (Mer-
cury Music Corporation, New York, 1962-63). Com-
piler and arranger of VieiJJes Chansons et Rondes
Francoises (Schott, Mainz 1939) under the pseudo-
nym of Rene Deloup. Arranger of vocal scores of
some operas and other works by Hans Pfitzner and
Richard Strauss.

ANNA YONA University of Turin, Italy. Former teach-
er, Cambridge and Boston Centers for Adult Edu-
cation. Radio commentator-director, Italian Hour,
Boston area radio stations, WCOP, WBMS, WESX,
and WLYN, 1943-50.

GEORGE ZAZOFSKY Curtis Institute. Concertmaster
of Curtis Symphony Orchestra under Fritz Reiner.
Twice represented New England in Stokowski's Ail-
American Youth Orchestra. Concertmaster and
Musical Director of Zimbler Sinfonietta. Soloist
with Boston Pops Orchestra. Soloist in Berg VioJin
Concerto with Erich Leinsdorf and Boston Sym-
phony, 1963-64. Member, Boston Symphony Orches-
tra, since 1941. Member, Boston 8ymphony String
Quartet.

ALFRED ZIGHERA Diploma with first prize (Paris
Conservatory). Violincello with Jules Loeb. En-
semble with Lucien Capet. First violoncellist, Paris
Conservatory Orchestra, Concerts Koussevitzky,

Paris. Former member, Zighera Quartet, Paris;
Boston String Quartet; Stradivarius Quartet. Fac-
ulty, Wellesley College, since 1944; Berkshire Music
Center, since 1940. Former assistant principal cell-
ist, Boston Symphony Orchestra, 1925-63.

BERNARD ZIGHERA Diploma with first prize in piano,
Diploma with first prize in harp (Paris Conserva-
tory). Harp with Marcel Tournier. Piano with Isi-
dore Philipp, Santiago Riera. Chamber music with
Paul Chevillard, Lucien Capet. Member, Paris Con-
servatory Orchestra. Faculty, Berkshire Music
Center, since 1940. Concert tours in Europe and
United States. First harpist, Boston Symphony Or-
chestra. Chevalier of the French Legion of Honor.

THE NEW ENGLAND CONSERVATORY

A College of Music • 290 Huntington avenue, boston, Massachusetts 02115

Area Code 617-536-8660

THE NEW ENGLAND CONSERVATORY
CALENDAR 1966-1967

FIRST SEMESTER

September 12-17, Monday-Saturday . Orientation Week
September 19, Monday .... Academic year begins
October 12, Wednesday . . . Columbus Day; Holiday
November 11, Friday .... Veterans Day; Holiday
November 24, Thursday . Thanksgiving vacation begins

November 28, Monday Classes resume

December 17, Saturday . . Christmas vacation begins

January 2, Monday Classes resume

January 13, Friday . . First semester instruction ends
January 16, Monday . . . Midyear examinations begin
January 23, Monday . . . Midyear examinations end

Private lessons scheduled on October 12 and November 11,
24 and 25, will be made up between January 16 and 27.

SECOND SEMESTER

January 30, Monday .... Second semester begins
February 22, Wednesday

Washington's Birthday; Holiday

March 25, Saturday Spring vacation begins

April 3, Monday Classes resume

May 19, Friday Last day of instruction

May 22, Monday Final examinations begin

May 29, Monday Final examinations end

May 30, Tuesday Memorial Day; Holiday

May 31, Wednesday . . Auditions for promotion begin

June 9, Friday Auditions end

June 10, Saturday Alumni Day

June 11, Sunday Commencement Day

June 25, Sunday Summer School begins

August 19, Saturday Summer School ends

Private lessons scheduled on February 22
will be made up between May 22 and June 2.

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